The primary purpose of the present essay is to survey the biopolitics represented in Deranged (or Yeongasi), which is often called the first Korean contagion film. A plague or pandemic contagion is an interesting critical topic since, as a God’s scourge, it has been regarded as an expression of the divine sovereignty; however, it has been also a useful rhetorical device to represent the dysfunction or failure of governmentality. In either case, biocalyptical visions of pandemic destruction always evoke not only the issue of ‘body’ but also that of ‘body politic.’ In that sense, the biopolitical narrative of Deranged is endlessly fascinating, since it allegorically associates a widely disseminating parasitical contagion with transnationally developing capitalism in the time of globalization and thus derived extreme social mobility. By reprocessing various socially antagonistic discourses and anxieties circulating in reality, what the movie demonstrates is that the transnational capital has now become the new sovereignty, which invades human life (bios) as such, and it controls human wills, desires, and even affects, just as the deathly parasite－nematomorpha (Yeongasi), the title motif of the film－functions. Thus Yeongasi is a very well devised political allegory: it labors to articulate the problem of omnipresent multi or transnational capital that even reigns over the constitutional sovereignty of a nation state and consumes human lives and affects. The film thus offers a “cognitive map” of the transnationally developing exploitive relations in the era of multinational capitalism.

Ⅰ. ‘바이오칼립스’(Biocalypse) 그리고 ‘생명정치’(Biopolitics)
Ⅱ. 괴담 그리고 적대
Ⅲ. 포스트휴먼의 신체 혹은 좀비
Ⅳ. 국민국가, 주권, 그리고 예외상태
Ⅴ. 인지적 지도작성
인용자료
Abstract