budotsboiler [none/use name]

Wdym about 3rd world to 1st world myth?

Singapore shouldn't even exist.

Your points are right abt. geographical advantages, but it isn't the only factor, nor even the main factor itself.

https://www.prisoncensorship.info/archive/etext/countries/korea/fourtigers.html

I'm not the one who believes in geographical determinism, big dawg

Singapore is dependent on migrant labor to run most of their economy.

Matapobre people.

Don't let the corruption rate fool you. Streetfighting with swords a-waving in the streets and gang organizing is rampant in the underground, with the police not doing anything to stop it.

They only have an iron grip against migrant workers.

They also make shitty films unlike the rest of their neighbors

It's a Spike Lee film!

Koreans only got thrillers done right in the 2010s. I generally dislike the clean(lifted from European arthouse) cinematography Park Chan-wook uses.

Only movies I really like from him is Decision to Leave and I'm A Cyborg, But That's OK.

You can easily observe how much PCW's style influenced kpop MVs and mainstream SoKor movies and you'll get what i mean lololol

If you want more thrillers from Asia, watch movies from Karthik Subbaraj(more Scorcese).

Oldboy remake better

Re: Shin Godzilla It's interesting to note that the UN/USA will have tried help eliminate Godzilla via nuclear launch lol

Maybe the term right-wing is too old-fashioned.

The theme I saw in that film is that the faithful population must be taken care of in the danger of compromise of another nation’s agenda(America). It reaffirms the trust of the people to the government, and is welcoming to anyone who is willing to help their cause. International cooperation should not be conflated with internationalism, and is not rejected by right wing liberalism(Just look the UN and NATO). Liberalism is right-wing. To be Anti-American should also not be conflated with anti-imperialism, as interivalries happen with competing states(Russia and USA, USA and Japan).

The film was delivered void of any annoying political sentiments.

Incidentally, revered Japanese creatives have a far right-wing throughline, like Mishima, Abe and Shuuzo. But it's more likely that we can speculate that Anno is a liberal, although his military fascination disturbs me at times.

He directed my favorite Ghibli film, and favorite short about trains so there's that.

It's not demeaning to talk about art as commodity. Just more practical for me to discuss films and art as such in a capitalist system in order to stop revolving the art around the artist as an auteur or singular idealogue.

Commodities are talked about as:

A product of labor and its usefulness. Since labor is already alienated under capitalism, we define art based on its usefulness. I place its spectacularity as its social use. In most cases, if the art doesn't please one's senses first, it's useless for me. Narratives and message come after and should correspond with the spectacular qualities.

I'm just trying to have a discussion with you because your points are interesting, didn't even notice the ongoing replies.

For me, Shin Godzilla distills Japan's right wing political bent( on reaffirming japanese nationalism). The reccuring anti-American esp. in connection to anti-nuclear sentiment really seals the deal. It's a complex work.

Regarding on the Death of the Author: A fascist statement is still a fascist statement whether attributed or not. If a song sounds misogynist, it's probably misogynist. I don't derive enjoyment from misogyny. I take along the art based on my own valuations and interpretations.

Shit on the author as much as we can. They're the least of our consideration. In the turn of the capitalist condition, we can always repurpose and decontextualize their work. We should and we must separate the author and their work. We are at least entitled to that. Art are mere commodities and should be treated as such.

I know you lot are mostly not Maoists, but How Yukong Moved The Mountains is a great preview about the socialist future.

(In my own words as observation of the film: Even love is different on the other side of the revolution. It's dialectic!)

I admire Goblin Slayer on how militant he is even after success in vanquishing his enemies, he never underestimates his opponents.

(w/ Japanese entertainment as context) I also appreciate many right-wing shows(mostly in form). My fave band even said some anticommunist talking points out of context, didn't even expect it. My appreciation mostly ends at form though. They're just fun to watch/fun to listen to.

Critiquing them is even another form of enjoyment! And it's fun to do. Try watching and critiquing Shin Godzilla, for example. Not all entertainment has to affirm your politics for it to be fun(This is a problem especially in watching art by problematic artists. Learn to separate them already).

Watching and dissecting their themes can be even used as a tool to sharpen your own political alignment.

Triumph of the Will is a must watch, and Leni is an auteur unironically.

In the same way the USSR film scene utilized The Birth of A Nation as cinematography study we must do the same. The author is dead.

You wan't catch me watching any Griffith doe(obsolete) or reading Rand(awful clunky writer). Both are just not entertaining.

It can go the other way honestly to a reorientation of further escapism. Doubling down, instead of confronting the isekai genre's pitfalls.

The thing is that i find these comfy situations complacent unsustainable without exploitation running in the background irl(ex: underpaid workers and why the americana, your own big farm fantasy is shit).

I don't watch Hollywood shows, but it's intriguing on how much TV in Asia rely on a middle-class fantasy as a dream occupation/occupation of the protagonist. Like cafe owners, bookshops, friendly landlords, and such.

On another tangent obviously i'm not hoping for a marxist art to pop up and just watch that for the rest of my life. Tendency literature, according to Engels, is bad propaganda. Most contemporary leftist art is corny and boring(in terms of form).

There's a reason in why you can appreciate Bambu as a rapper so much, he blends the struggle and his truths, that's why he's not corny. Most non-corny art that incorporate social commentary are either in prestige TV with great form(writing) and not too self-aware(Billions, The Wire) and others have the backing of experience in being organized(Boots Riley, Masao Adachi).

The oppressed are hoping for an ending, and they have to be stuck with vague/bittersweet conclusions? That's supposed to be cinema? Fuck arthouse. Fuck indie. A proper ending is more entertaining.

Those vague shows are just schlock for bougies to teeth on(Succession, The Menu, Tar, Triangle of Sandness as recent examples).

Considering they fund the above shows the ruling class obviously have an eat-the-rich fetish. Fuck them.

Anyone who champions these A24 class signifiers as class struggle entertainment are professional bullshitters. You don't want to engage in a bougie "cinephile's" kink non-consensually. Stop watching eat-the-rich stories.