Contents:
There also do battles between the US military and representatives of a Middle East imagined as diseased play out. In Ozombie , Usama bin Laden have risen from the undead and now walk Afghanistan where US Special forces soldiers must combat him and his minions. The very first image of this opening is of trees moved by the wind before a blue sky. In the next instance, the name of the production company, Universal Pictures, is shown in red against a black background.
The name liquefies and spills to the right, like blood, before the third image of the film appears: a mosque where a large number of worshippers have gathered and bend over in prayer. Caption: People praying in a mosque as shown in the opening sequence of Dawn of the Dead It shows no conflict or unrest, only a second of recorded worship. As the title sequence rolls on, seemingly documentary photography shows civil unrest while other, clearly staged, images depict a White House press conference breaking down, close ups of snarling, grisly faces, images of blood cells trembling and splitting apart under the lens of a microscope, and, increasingly, of modern society collapsing.
Set before these images, and before the violence of the main narrative, the first scene of the mosque merges with the short-cut origin story of the pandemic that the prologue tells. In other words, brief second of prayer that is shown before the barrage of violence, clearly works to disturb the audience, and to inform the images of violence that follows. Then, the girl steps into the light, her face a bloodied mess, and proceeds to attack the young man. Soon, he too is infected and his wife barely escapes into the bathroom and out the window into a world that is utterly lost to chaos.
The suburban community has been transformed into burning and confusing territory of random carnage. As in Train to Busan , many of the survivors were once middle class, but there is no privilege to be had in the post-pandemic world that the film is set in. The only meaningful preoccupation is the maintenance of the borders that separate the still uninfected from the violent, diseased undead. Indeed, in global pandemic cinema, the construction of borders is always central.
The most crucial such border is that of the body. In pandemic horror cinema, this specific border is not crossed quietly, through the air or through the contact with the diseased skin of the Other, but through a bite that breaks the skin and mingles the saliva of the zombie with the blood of the victim. Note the centrality of the Christian church in the community. Outside the wall, tattered zombies roam the streets in large groups.
Inside, members of the Jewish community survive side by side with members of the Islamic. In the face of the zombie pandemic, the film imagines political and religious differences to have disappeared. Caption: The walled-in part of Jerusalem where uninfected humans can hide from the infected masses outside. Horror films demand that borders are breached and in World War Z , even the massive walls and tremendous fire power of the Israeli army cannot keep the zombies out.
Even so, the only hope these films present is a thoroughly militarized modernity; a society where everyone is armed and vigilant, their eyes always scanning the large physical borders that separate the uninfected confines of the community from the savage world outside it. By casting the subaltern as a supremely aggressive, possibly undead, cannibal, great violence against this figure becomes not only legitimate: it is a necessity for continued survival.
Thus, the central figure in US pandemic horror film is often not the scientist who is trying to find a cure, but the armed soldier or survivalist who is killing the infected off. Thus, the solution to global health in this type of cinema, or at least to the immediate survival of humanity, is military.
The solution is a war fought by posses of armed white men, by platoons of Marines, by special forces soldiers gunning down a migratory flood of supremely aggressive beings trying to scale the wall that keeps them from invading what is left of organised society. As discussed above, a great portion of these narratives are firmly conservative and tie the different anxieties that traverse the US to images of societal collapse cast as zombie apocalypse, and suggest that the only way to survive is to organise society according to strictly militarized mores.
However, there is also a US tradition that complicates this dominant and normative narrative. Alternative, counter-hegemonic narratives appear in the s and 60s, and become legion in the s. These are often low-budget productions, but they have had considerable impact on the pandemic narrative inside and outside Anglo borders. As in the original, the protagonist believes himself to be the only human being to have survived a global pandemic that has transformed everyone else to vampires. By night, he holds out against the onslaught of the vampires outside.
By day, he seeks them out to destroy their then dormant bodies. Not until the ending of the novel does he begin to understand that vampire society is now the new normal, and that he is, in their eyes, a lone and murderous monster.
Here, the zombie pandemic is not understood to have travelled from a liminal East. Instead, in Night of the Living Dead , the protagonist is a black man who is trying to shield himself and a group of cowardly white people from a host of similarly white, middle-class zombies who, relentless and cannibalistic, have risen from their graves. Somehow surviving the terrible night, the protagonist walks into the daylight only to get shot by a white posse and then thrown haphazardly onto a gigantic pyre as the end credits begin to roll. On the one side of this strata, Otherness is seen to emanate from a still orientalised and Islamic East, and to result in the collapse of a white, middle-class modernity seen as absolutely central to Western selfhood.
On the other side, it is Western society itself, the reliance on white masculinity, the uncritical belief in modernity, that is the real horror that produces the illness.
It also surfaces in interesting ways in Train to Busan. To return to this film, the young woman transformed into voracious cannibal begins to spread the illness she carries to other passengers, changing them into similarly aggressive beings.
Soon, the few uninfected protagonists are collected in one of the front sections of the train. They manage to communicate with the driver of the locomotive car and are told that the train, and all of South Korea, is caught up in a nation-wide crisis of unknown proportions. What remains of organized, modern society attempts to engineer their rescue from the train, and they are told that the army will be waiting to receive them further down the line.
However, when they pull into the assigned station and get out of the train, the station is eerily quiet. They move down a set of escalators and finally make contact with the waiting military, only to find that they too have been transformed. In the scene that ensues, a hoard of bloodied, frenzied young men in uniform storm the people who have exited the train, biting, killing and transforming them.
Similarly, the military provides no protection. When they finally appear in the movie, they pose the largest threat so far, ruthlessly decimating the few survivors. They, and the context to which they belong, offer no protection from a disaster that, the audience is informed, was in fact produced by capitalist modernity itself. The absent father, an investment manager, has helped fund and also put pressure on, the biotech companies that have developed and released the virus.
In this way, Train to Busan upends the logic of the conservative pandemic narrative. The high court last year decided in favour of the client after LG filed an appeal on the original district court judgement that concluded the product packaging in contention constituted dilution. Acting for energy drink giant Red Bull in a dispute with a domestic company named Bulls One, an automobile fluid manufacturer and distributor. This is the first case in Korea on product keys provided in the licensing of software and will have a significant impact on the widespread sale of product keys in the country.
Archived from the original on 12 September United Nations University. During your chilled out day trip from Seoul lie on soft sands, swim in the clear blue sea and tuck into delicious meals at beachside restaurants. Represented Kyeryong in a dispute over which company was the winning bidder in a process conducted by the Bank of Korea. Bibcode : ER
They lead a dedicated and committed team of individuals. She always provides clear and practical advice. He is dedicated to his firm, his staff, and his clients. He regularly reviews the work and requests all feedback, both positive and negative. He is quick to oversee important projects and special requests. He is a problem solver.
Its corporate and dispute resolution practices have enjoyed growth the past year. On the corporate side, its work in the manufacturing, logistics and shipping sectors are recognised. Litigation and commercial transactions specialist Hyun Woo Yi joined the firm last year from Barun as the international arbitration team gains more prominence.
For example, last year it received a number of new instructions from domestic conglomerates for arbitration disputes centred in Greece, Israel, Taiwan and Singapore.
Eventbrite - Filter Off presents Seoul Video Speed Dating - Filter Off - Friday Online Dating - Filter Off. Seoul. Seoul, Seoul. Korea, Republic of. Eventbrite - Filter Off presents Incheon Video Speed Dating - Filter Off - Friday, Korea, Republic of. Event description. Description. The Incheon video speed dating event is the most effective way for men and women to meet.
Corporate partner Sung Hoon Im and international arbitration head Timothy Dickens are the key contacts. Advised Singapore-based SIA Engineering Company on its joint venture agreement with a Korean entity, a holding company of a regional low-cost carrier, for a maintenance, repair and overhaul MRO business in Korea. A Korean private equity fund bought the warehouse, which has a long-term lease with Mercedes Benz Korea.
Acting for domestic cosmetics company Nature Republic in disputes with global distributors over the non-payment of relevant amounts under conventional and e-commerce distribution agreements. Represented a client in an international arbitration against a Korean Chaebol brought before the Kazakhstan International Arbitrage in Astana. The matter involved the construction of the Four Seasons hotel in Astana.
Jipyong is a well-rounded firm that offers representation across all major practice areas and core industries.
The firm has invested heavily on the growth of its real estate practice, with its hiring of twelve senior attorneys from Nexus Law Group in May The firm is deepening its regional footprint with on-the-ground operations in a number of emerging markets such as Indonesia, Myanmar, Laos, and Vietnam. Representing the relatives of the deceased and surviving Korean victims of a river cruise collision on the Danube river in Hungary. This case is one of the biggest casualty cases in Hungary and all the passengers on board were from a Korean tour group.
Advising a domestic chemical company after a ship came into contact with its berth and caused damages while it was approaching the terminal at Incheon port. The competition regulator is accusing Naver of restricting competition in the e-commerce market by using its dominant market position. The team helped the client win a motion for a preliminary injunction against the Public Procurement Service. The team helped its client win the case in the first and second instance proceedings.