According to Claire Jean Kim
The field of racial positions outlines the opportunity each ethnic group can gain. However, she further states that the area of racial posts is skewed favoring only the white race, therefore, enforcing white domination.
Moreover, she agrees that the Asians Americans have been forced to racial triangulation where the whites held dominance over the Asians, and the Asians held dominance over the blacks, yet the Asians were perceived as outsiders permanently unable to integrate (Kim 311-333).
Many scholars agree that this theory is perfect and correct and that Asians were triangulated throughout the 1800s to the current day.
Karl Marx and Labor and Capital
On a similar note, Karl Marx considers labor and capital as a detailed as well as a scientific observation on how capitalist economy works, why it ultimately collapse from within and why it is exploitive.
Some of the most significant topics developed within wage labor and capital are labor power and labor and similarly how labor eventually becomes a commodity.
The film Okja by Bong Joon Ho
The film Okja by Bong Joon Ho not only entertains but it is likewise an ambitious screenplay which contains a discussion of corporate responsibility around labor and ethics about product consumption.
Labor or capital concept will prove useful in the analyzing of this film.
On the other hand, Okja describes the movie of a little South Korean girl who despite loving her giant mutant pig a big corporation based in New York takes the pig away from her.
Racial triangulation is visible in this section of the film.
Aesthetics
Okja is an exciting story of a young girl with her giant mutant pig that is conveyed to life through puppetry and a digital effect which makes non-existence characters seem real for instance the Extra-Terrestrial (ET) or characters like the King Kong. It likewise tells the story of an animal rights activist battling out with a corporation that plans to turn the mutant pig into a poster animal for an original line of meat products.
These two models within the film might seem as inconsistent to many people; however, as director Bong Joon Ho the film oversees it integrates to form a sweet, funny, scary, sad as well as good science fiction movie.
The heroine is the little girl named Mija an orphan who lives in a remote mountainous village with her grandfather Hee-bong. Mija constant companion and friend is the title appeal Okja, a pig with leather skin and a rounded snout just like a hippopotamus.
The character Okja is similarly portrayed in the film as having a soft pink belly and trusting eyes.
The bond between Okja and Mija is excellent however a ticking time clock governs it as it is noted in the film's introduction or opening by Lucy Mirando, the CEO of Mirando Corporation.
According to Lucy, they had seeded the world with prototype pigs and similarly announced that the pigs would take a minimum of ten years to grow to maturity.
She announced that the company selected a suitable environment for growth which would provide the customers with cheap as well as high-quality meat products.
The company presented the pigs to the media as a discovery even though they were developed inside Mirando’s laboratories.
This is just one of the lies termed as the little white lies by the Mirando CEO Lucy Mirando. Lucy tells this lie to cheat the public particularly the animal rights activists and protestors against genetically modified organisms (GMOs).
What this corporation does in this instance is that it goes against the branch of philosophy that deals with the appreciation of natural beauty and taste, the branch of aesthetics.
Form
This film takes the narrative form. According to scholars, narrative filmmaking refers to the movies that tend to tell a story. Notably, these films are mostly viewed in theatres, broadcast on television, streamed online as well as sold as DVDs and Blu-rays.
The film Okja tells a perfect layout or a perfect setting of love and friendship between man and beast. It also describes the story of a constant struggle between man and man. In this case the Mirando Corporation and the animal rights activists.
After the ten years maturity mark ends, Mija’s grandfather delivers Okja to the Mirando Corporation, and he gives her a tiny gold pig as a compensatory gift. The separation between Mija and the pig triggers a story which follows the pig to New York from South Korea and later to an operating plant in New Jersey.
In New Jersey, there are many other sample pigs kept for research and eventually slaughter. It is here that the viewer sees the members of the animal liberation federation, the ALF, kidnaps Okja and fits her with a vision camera with the hope of exposing the Mirando’s animal rights abuses.
This film contains discussion on business responsibility, the acceptable threshold of animal cruelty, the ethics of meat consumption as well as other matters the view might not suppose to find in a movie that is so merely expressed and extravagantly produced.
This film not only displays its content in a narrative form it also considers a little of the documentary form.
Although documentary form has distinct differences to the narrative form which usually contains fabricated stories or imaginations, documentary filmmaking tend to fall on the factual aspects either in the history or the future.
Notably, subjects matters a documentary can either be the hunting of an endangered species a presidential campaign or even the downfall of the Nazi regime.
In this case, the Okja film displays a perfect event in the future of genetically modified animals.
Social Context
According to scholars, a film social context is the instant social setting or physical setting within which individuals live in or where things happen or develops.
Notably, this includes the values in which a person is cultured in and the institution which they interrelate; the interrelation mostly might be displayed in person or by communication media or even one way, and at a time it may imply equality or the social status; this makes the social context to be a comprehensive concept (Heine 103-132).
The film Okja starts with hype and fanfare. Lucy Mirando, the chief executive officer of Mirando Corporation, plays as the host to a dramatic hypermedia launch to an entrance of what she terms as a non-genetically modified super pig which according to her the pig was discovered in a unique isolated farm.
Notably, Okja is made extra genetic begetter through a process of non-forced means of 26 piglets whereby each pig is to be brought up by different farmers in different parts the world and then the company would determine the suitable location to raise the new design of pigs.
After the introduction, the film is directed to ten years later in an isolated steep district in South Korea. The audience views Mija is going on with her daily activities with her animal friend the size of a hippopotamus was named Okja.
In this scene, Okja seems extra like a pet compared to a free rage farm animal. Mija and Okja perform different chores together from picking up fruits and catching fish for dinner.
In different scene viewers see Okja rescuing Mija from falling into a crag, pulling her with a rope; during sleep time Mija vanishes beneath the hug of Okja who resembles an extra enormous teddy bear and displays exquisite tenderness.
The inclusion of the Okja in the Cannes movie commemoration stimulated up discussion due to its straight to the Netflix distribution; the polemic turned out to be entirely not warranted. There had also been plans for a full release in South Korea, screening in the United States and Britain.
Content
According to scholars, film content is the experiences and information that are directed to the viewers or the audience. Moreover content is something that can be expressed through media like writing, speech or various kind of art.
Many critics believe that Okja is not a suitable film for kids and parents and guardian should not use it as an electronic sitter.
The dialogue in the movie is liberally peppered and at time inappropriate as well as a more exaggerated joke about corporate hypocrisy.
There are likewise thematic nodes and visual of cartoonist director Terry Gilliam who made movies that were childlike however never strictly for kids. The film similarly is filled with incidents of characterization that tend to lose focus or wonders away in theories it cannot correctly explore.
In other sections, the film explores a lot of corporate wicked people or scenery chewers who work best in small doses.
Jake Gyllenhaal's role as a hypocritical nature journalist is the only flat-out casting disaster.
In many movies, there is usually a section in film history where the actors generally stand for nothing as well as films with something to say forgets to entertain the audience, Okja’s balancing act is outstanding.
Notably, the film never allows its ethical interests as well as philosophy to thrust drama or comedy off one side. Mija and the pig are usually at the epicenter, and when they are not, it is their love which makes this film a perfect love story.
A repeated image of Mija leaning close into the pig’s floppy ears and whispering to calm her down; the audience never hears precisely what the girl say to the pig, however, the tight close up of Okja's enthralled eyes shows the audience that she is listening intently as well as understands what the girl is communicating.
This indicates that the girls words matters and make sense even though they both do not speak the same language. The pig trusts the little girl.
At this ultimately brings back the question about trust; what it means to keep it and betray trust.
According to scholars, this film is a perfect correlation between racial triangulation in the sense that the white misuse their power through capitalism and abuse of animal rights and labor and capital in the mind that Lucy Mirando misleads the public that Okja is a discovery yet it is not.
Works Cited
Heine, Erik. "Chromatic Mediants and Narrative Context in Film." Music Analysis, vol. 37, no.1 (2018): pp 103-132.
Kim, Claire Jean. "Moral Extensionism or Racist Exploitation? The Use of Holocaust and Slavery Analogies in the Animal Liberation Movement." New Political Science, vol. 33, no. 3 (2011): pp. 311-333.
