[The Editors' Verdict] Lessons to Learn from Genre-Breaker "Bong Joon-ho"

[Asia Economy] First, he possesses a mindset free from stereotypes. Even the basic genre of a film is just a cumbersome stereotype to him. He declares, "Since existing genres are defined in Hollywood, there is no need for us on the opposite side of the globe to be bound by them." The real world does not operate in a standardized way. Dynamic Korea is even more so. The biggest problem in our society today is that complex real-world issues are being ideologically polarized, leading to fierce battles to the death. One side advances under the genre of purging deep-rooted evils and prosecutorial reform, while the other confronts them with the genre of defending liberal democracy and eradicating leftist forces. The losing side is doomed to disappear as an enemy of society.

Second, he understands the director’s duties and rights well and respects their limits. He says, "The director’s role is simply to faithfully guide actors and audiences accurately into a worldview harmonious with physical facts." Since film is not a tool for cheap propaganda, it "must not be reduced to a mere vehicle for delivering messages." The film itself must be filled with beauty. It is the audience’s responsibility to form their own thoughts after watching. Our society has too many directors and actors hiding behind the scenes trying to control the audience?politics, media, parliament, social network services (SNS), and even the legal community.

Third, he does not get buried in images. He believes, "Since we live in a world flooded with excessive images, those who can distance themselves from images and think independently can become stronger creators." Too many people in our society are immersed in images deliberately implanted by others and cannot break free. Most of the strong voices in expert groups, civic movements, and religious groups are such people. Those who implant images themselves must also re-examine themselves and accept social criticism.

Fourth, he holds a relative worldview and view of humanity. Life is a comedy when seen from afar and a tragedy when seen up close, so "many phenomena have both sad and simultaneously funny aspects." He believes that "things are not divided into 100% pure sadness or 100% pure joy." This is a point that the Korean society, divided into two by an absolutist worldview and a human view that denies others, must reflect on. The more absurd comedy occurs in a society like Korea, the more it must self-criticize and raise voices for creative problem-solving.

Fifth, the sole criterion for casting actors is "simply those who act well." He says, "Rather than trusting auditions under fluorescent lights with A4 papers, I unconditionally cast those who have shown convincing acting skills after reviewing years of short films, theater, and records that demonstrate professionalism." Our government’s talent selection criteria are the exact opposite. They pursue ideological homogeneity rather than professionalism. The civil servant group is regarded as subordinates who must indefinitely obey elected powers. The head of the Statistics Office, who speaks uncomfortable truths, is subject to dismissal, and the Medical Association, which has issued multiple warnings about the novel coronavirus infection (COVID-19), is merely a target of suspicion.

Even the film 'Parasite,' which is nothing short of a national triumph, sparks heated debates between progressives and conservatives. Some argue it is propaganda for the progressive camp because it highlights wealth disparity symbolized by the basement room, luxury mansion, and numerous stairs. This is despite the conclusion that the protagonist ultimately makes a conservative plan by working hard within given conditions to climb the social ladder and buy the problematic house (rescuing his father), thus resolving the issue. The existence of semi-basement rooms is a stark reality?does hiding this make one conservative? It is not time to divide by camps and genres but to honestly communicate with the world like the producers, director, staff, and actors of this film and enhance our competitiveness. Director Bong Joon-ho and his works have risen to a heavenly position, while Korean politics and society wander in the hell of factional logic.

Choi Won-mok, Professor, Ewha Womans University Law School