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In December of 1997, the International Monetary Fund announced the largest bailout package in its history, aimed at stabilizing the South Korean economy in response to a credit and currency crisis of the same year. Vicious Circuits examines what it terms "Korea's IMF Cinema," the decade of cinema following that crisis, in order to think through the transformations of global political economy at the end of the American century. It argues that one of the most dominant traits of the cinema that emerged after the worst economic crisis in the history of South Korea was its preoccupation with economic phenomena. As the quintessentially corporate art form—made as much in the boardroom as in the studio—film in this context became an ideal site for thinking through the global political economy in the transitional moment of American decline and Chinese ascension. With an explicit focus of state economic policy, IMF cinema did not just depict the economy; it also was this economy's material embodiment. That is, it both represented economic developments and was itself an important sector in which the same pressures and changes affecting the economy at large were at work. Joseph Jonghyun Jeon's window on Korea provides a peripheral but crucial perspective on the operations of late US hegemony and the contradictions that ultimately corrode it.
Examining what it terms "Korea's IMF Cinema," the decade of film-making that following that country's worst-ever economic crisis, this book thinks through the transformations of global political economy attending the end of the American century.
1977 was a bad year for Carey. He needs a vacation. You know where there's a killer punk scene? London. Oh, plus the leader of the cult that murdered most of his friends is building an army there. 2013 was a bad year for Kaitlyn, too: she hooked up with her childhood crush, who turned out to be an immortal psychopath trying to devour her soul. Now she must find a way to kill him before he sacrifices her and her friends to his extra-dimensional god.
"In Racial Things, Racial Forms, Joseph Jonghyun Jeon focuses on a coterie of underexamined contemporary Asian American poets — Theresa Hak Kyung Cha, Myung Mi Kim, Mei-mei Berssenbrugge, and John Yau — who reject many of the characteristics of traditional minority writing. In the poets’ various treatments of things (that is, objects of art), one witnesses a confluence of the avant-garde interest in objecthood and the racial question of objectification."-- Back cover.
In this YA sci-fi, an heiress flees her controlling father to prevent her test-subject sister’s mind from being reprogrammed—but must ally with a smuggler to outwit a monstrous AI, gravity-shifting gladiatorial pits, and bloodthirsty criminal matriarchs to save her sister and their city.
Just when you thought you’d accepted your own mortality . . . Everything Is Going to Kill Everybody is bringing panic back. Twenty illustrated, hilariously fear-inducing essays reveal the chilling and very real experiments, dangerous emerging technologies, and terrifying natural disasters that soon could—or very nearly already did—bring about the end of humanity. In short, everything in here will kill you and everyone you love. At any moment. And nobody’s told you about it—until now: • Experiments in green energy like the HiPER, which uses massive lasers to create a tiny “contained” sun; it’s an idea that could save the world if it doesn’t consume us all in a fiery fusion reaction first. • Global disasters like the hypercane—a hurricane so large it could cover all of North America and shoot trailer parks into space! • Terrifying new developments in robotics like the EATR, which powers itself on meat—an invention in the running for “Worst Decision Made by Anybody.”
Did the cross of Calvary truly remove every form of the curse? Did Jesus really make everything right for those who put their trust in Him? Or do we await another day when God will add to the work of the cross in order to complete our salvation? The truth contained in this treatise is the simplest of all truths. This book is not a study on the mysterious depths of the gospel, but rather, on the foundational principles upon which the church is to be built. Although foundational, the truth contained herein is one in which the church at large is unfamiliar. Though simple, this truth is simply profound and contains power to bring forth a new and radical perspective. This new perspective contains the ability to connect the believer to supernatural possibilities. This radical perspective of which I speak is a simple and honest look at the redemptive work of the cross. Could it be that Jesus' death, resurrection, and seating at the Fathers right hand has totally and completely rectified the human condition? Is it possible that as believers, we can experience and enjoy the bountiful and unlimited blessings of heaven by merely agreeing with what the Father has already accomplished through His Son? It has often been said that every believer has a right to be blessed, healed, favored, etc. The truth is, we have far more than a mere right to these blessings. We have Jesus' Right which guarantees that these blessings are not only ours, but they are irrevocably ours. Because of the redemptive work of Calvary, every believer is as much in the right with the Father as Jesus Himself. The moment we believe in Jesus, His righteousness is accredited to our account! Thus, Jesus' Right is NOW upon us! Truly, there has been a great exchange . . . He has taken all of our wrong and given us all of His RIGHT.