Intersection of monstrosity, ecological imperialism and hope in Bong Joon-ho’s "The Host" and Indra Sinha’s "Animal’s People"

Recent discourse in popular literature and culture often illuminates the contemporary fascination with the monstrous to the extent that monstrosity is deemed as a “condition of the twenty-first century”. The idea of the monster often provokes fear, terror and disgust in the individual whilst at the...

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Main Author: Siti Nurhasyimah Othman
Other Authors: Samara Anne Cahill
Format: Final Year Project
Language:English
Published: 2017
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Online Access:http://hdl.handle.net/10356/70361
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Institution: Nanyang Technological University
Language: English
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spelling sg-ntu-dr.10356-703612019-12-10T12:27:10Z Intersection of monstrosity, ecological imperialism and hope in Bong Joon-ho’s "The Host" and Indra Sinha’s "Animal’s People" Siti Nurhasyimah Othman Samara Anne Cahill School of Humanities and Social Sciences DRNTU::Humanities Recent discourse in popular literature and culture often illuminates the contemporary fascination with the monstrous to the extent that monstrosity is deemed as a “condition of the twenty-first century”. The idea of the monster often provokes fear, terror and disgust in the individual whilst at the same time evoking a sense of intrigue. Evidently, monstrosityThe monstrous manifests itself as a strange amphibious creature found in the Han River in Bong Joon-ho’s monster film The Host. This South Korean film projects the wreckage brought about by the monstrous creature, which is a product of ecological toxic waste. On the other end of the monstrous spectrum, physical monstrosity materialises itself in the abject and deformed body of Animal in Indra Sinha’s Animal People. The novel is narrated by Animal, whose twisted spine as a result of a disastrous gas leak led to him walking on all fours. These representations of the monstrous highlight that they are the creations of ecological imperialism, specifically environmental racism. This paper seeks to argue that monstrosity is utilised as a means to legitimise Western authority in an effort to sustain its postcolonial rule. Nonetheless, these different representations of the monster also serve as an emblem of strength and hope for the individual and the collective. Building on the concept of environmental racism and injustice, I will be adopting an ecological approach for this essay. This paper will also draw heavily on Julia Kristeva’s notion of the ‘abject’ and Jeffrey Cohen’s theses on monster culture. As such, this paper aims to shed light on the severity of ecological imperialist issues and the injustice which it purports, whilst highlighting the possibility of empowerment for the victims who are wronged. Bachelor of Arts 2017-04-21T01:51:36Z 2017-04-21T01:51:36Z 2017 Final Year Project (FYP) http://hdl.handle.net/10356/70361 en Nanyang Technological University 39 p. application/pdf
institution Nanyang Technological University
building NTU Library
country Singapore
collection DR-NTU
language English
topic DRNTU::Humanities
spellingShingle DRNTU::Humanities
Siti Nurhasyimah Othman
Intersection of monstrosity, ecological imperialism and hope in Bong Joon-ho’s "The Host" and Indra Sinha’s "Animal’s People"
description Recent discourse in popular literature and culture often illuminates the contemporary fascination with the monstrous to the extent that monstrosity is deemed as a “condition of the twenty-first century”. The idea of the monster often provokes fear, terror and disgust in the individual whilst at the same time evoking a sense of intrigue. Evidently, monstrosityThe monstrous manifests itself as a strange amphibious creature found in the Han River in Bong Joon-ho’s monster film The Host. This South Korean film projects the wreckage brought about by the monstrous creature, which is a product of ecological toxic waste. On the other end of the monstrous spectrum, physical monstrosity materialises itself in the abject and deformed body of Animal in Indra Sinha’s Animal People. The novel is narrated by Animal, whose twisted spine as a result of a disastrous gas leak led to him walking on all fours. These representations of the monstrous highlight that they are the creations of ecological imperialism, specifically environmental racism. This paper seeks to argue that monstrosity is utilised as a means to legitimise Western authority in an effort to sustain its postcolonial rule. Nonetheless, these different representations of the monster also serve as an emblem of strength and hope for the individual and the collective. Building on the concept of environmental racism and injustice, I will be adopting an ecological approach for this essay. This paper will also draw heavily on Julia Kristeva’s notion of the ‘abject’ and Jeffrey Cohen’s theses on monster culture. As such, this paper aims to shed light on the severity of ecological imperialist issues and the injustice which it purports, whilst highlighting the possibility of empowerment for the victims who are wronged.
author2 Samara Anne Cahill
author_facet Samara Anne Cahill
Siti Nurhasyimah Othman
format Final Year Project
author Siti Nurhasyimah Othman
author_sort Siti Nurhasyimah Othman
title Intersection of monstrosity, ecological imperialism and hope in Bong Joon-ho’s "The Host" and Indra Sinha’s "Animal’s People"
title_short Intersection of monstrosity, ecological imperialism and hope in Bong Joon-ho’s "The Host" and Indra Sinha’s "Animal’s People"
title_full Intersection of monstrosity, ecological imperialism and hope in Bong Joon-ho’s "The Host" and Indra Sinha’s "Animal’s People"
title_fullStr Intersection of monstrosity, ecological imperialism and hope in Bong Joon-ho’s "The Host" and Indra Sinha’s "Animal’s People"
title_full_unstemmed Intersection of monstrosity, ecological imperialism and hope in Bong Joon-ho’s "The Host" and Indra Sinha’s "Animal’s People"
title_sort intersection of monstrosity, ecological imperialism and hope in bong joon-ho’s "the host" and indra sinha’s "animal’s people"
publishDate 2017
url http://hdl.handle.net/10356/70361
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