Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-v9fdk Total loading time: 0 Render date: 2024-11-09T06:32:03.676Z Has data issue: false hasContentIssue false

9 - ‘Just Because’: Comedy, Melodrama and Youth Violence in Attack the Gas Station

from Part II - Generic Transformations

Published online by Cambridge University Press:  05 August 2013

Nancy Abelmann
Affiliation:
University of Illinois
Jung-Ah Choi
Affiliation:
Grand Valley State University
Chi-Yun Shin
Affiliation:
Sheffield Hallam University
Julian Stringer
Affiliation:
University of Nottingham
Get access

Summary

Attack the Gas Station (Juyuso sŭpgyŏksagŏn, 1999, dir. Kim Sang-jin) is a violent comedy: despite the considerable violence that runs the entire course of the film, the film has been widely appreciated as hysterically funny. In the words of one critic, ‘This is the first truly comedy-like South Korean comedy action film that I've seen in a long time’. The plot is this: four young men attack a petrol station, holding its ‘president’ (sajang) and workers hostage. Viewers laugh hard, for example, at radical role reversals: at the petrol station ‘president’ who offers to relinquish his presidency the moment he is instructed to ‘bow down, head down!’ because he is the ‘president’; or at the dumbfounded response of petrol-station customers who are told that ‘today is a cash and full-tank-only day’. This humour aside, there are moments that make us wince – when the violence, some of it misogynistic, is simply too ruthless to laugh away: for example, when the attackers lock a defiant woman in the boot of her car and proceed to hack at the boot (the film ends having left her and another customer locked away); or when, time after time, one of the attackers smashes the painstakingly repaired telephones that he had commanded the ‘president’ to fix. A box-office success, Attack the Gas Station ranked second among domestic films in 1999 (garnering slightly less than one-half of the viewers of history-making Shiri [Swiri] – 962,000 in Seoul by its eleventh week) and third overall (only slightly overshadowed by the American film The Mummy) (see www://koreanfilm.org).

Type
Chapter
Information
New Korean Cinema , pp. 132 - 143
Publisher: Edinburgh University Press
Print publication year: 2005

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×