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8/12/2019 JAS. 2012. in-transcendental Narrative-libre
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May
invit
imp
free
tran
and
finit
and
and
not
Hon
mat
depi
tran
ideal
dra
Wom
interr
“Ho
esca
beac
retri
in th
In‐t
in‐transce
es to humil
se criteria
of respon
cendental
celebrates
de and las
earthy lone
surrounden easy one
Sang‐soo’
rialized in
cted situat
cendent
ism causes
a is alway
n on the bea
pts the scene.
estly, I beli
ping from
h during l
eves her in
e game an
anscend
dence co
ity in relati
based on t
ibilities th
intelligenc
them. In‐t
t decay; en
liness; see
by
useles.
s film prod
both, the n
ions and
pprentice
them the
relativized
h: the speech
The sea as a d
eve in the
he hotel t
w tide. M
ocence. J
wraping
jo
ntal narr
stitute no
n to other
e applicati
t exceed p
cancels th
anscenden
joy love an
the good i
s
fictions,
uction is a
arrative co
events. M
. The cla
suffering t
through p
on stars as a
e‐romantized
stars”, says
gether wit
oon‐sook l
ong‐rae fal
is desire f
sea‐sanche
ative: the
adays a
s and the
on of supr
eople‘s ca
e mystery;
tal people
d encounte
in spite of
ynical
lies
crystalline
nstruction
ny of his
sh betwe
at opens t
thos or hu
prelude for thitness.
Moon‐soo
h director
ooks at th
ls in the tr
r the wom
z.com
work of
ode of re
lanet, mov
‐human tr
acity or u
it reconcil
affirm life
rs despite
heir limita
and
milita
xample of
and the de
male cha
n In‐tran
he films dr
mor.
e first kiss. A
k in Woma
Joong‐rae
e sky and
p, allowin
an with th
ong San
istance? I
ing away t
ths or exi
dermine t
s people
and accept
eing awar
ions. Burd
t
dogmati
In‐transce
ails that h
racters ar
cendence
matic spa
hone call fro
n on the be
or a nightt
remember
Moon‐so
idealism
g‐soo
‐transcen
e temptati
tences. Bu
eir integri
ith their b
their inevi
of their c
ned by ide
sm,
their
t
dental tho
ld it, and i
shown
and rem
e, howeve
the betraye
ach (2006)
ime stroll i
her child
k to involv
rojected o
1
ence
on to
t also
y. In‐
odies
table
smic
alism
sk
is
ught,
n the
s in‐
ining
r this
friend
after
n the
ood,
him
n the
8/12/2019 JAS. 2012. in-transcendental Narrative-libre
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star
relat
tran
ima
atte
corr
supp
gues
hum
curr
intel
A tale
The
tow
can
part,
Som
tow
unc
com
tran
but i
past
com
thro
we
elec
. The char
ionship, an
cendental
ine his dea
pt of
suic
sponds th
osedly jum
s that such
an, not be
nt state, b
ligence.
of cinema star
sun closes
r opens it.
ee it from
shortly be
ehow, the
as floatin
ordinated
unication
cendence,
n the actu
time, the
unication
gh the at
now that
ronic send
acters use
d to justify
fictions r
th: the sun
ide in
A
ta
at of the
ping into t
a distant
cause of t
ut becaus
s with Seoul’s
A tale of c
The prese
everywher
fore repea
ower cons
g because
and fallibl
tower s
one based
al possibili
individual
was alway
osphere,
is made
ers and re
jo
the lands
their dece
lated to l
takes the
le of
cinem
other. Th
he void: “
nd deaf su
e insignifi
the sun i
communicatio
inema first
nce of the
e in the to
ing the se
titutes an
of the ov
e memori
bstitutes
not in the
y of com
in solitude
s through
hich gives
ossible b
ceivers. Ele
sea‐sanche
ape to cr
it (to his fr
ve‐desire,
place of th
a (2005).
is is what
other!”
n will not
cance of t
matter a
tower and cl
part in th
sun is pun
n”, says D
uence of
nchor for
rexposed
s, and th
he sun a
postulatio
unication
could onl
n immate
color to
the wav
ctronic co
z.com
ate a ficti
iend and h
Sang‐won
e stars as
o the
figur
the torme
e don’t se
e touched
at billiont
d energy,
ses with the s
same wa
ctual, the t
ong‐su at t
he hazard
hose char
iction and
fragility
s a symb
n of parall
from a dis
speak to
ial heaven.
hat we call
s’ movem
municati
n that fit
r pretend
needs an
itness of t
e of
the
fe
nted youn
e her reac
by the suf
h of the h
ot sentim
n.
the Seoul
ower is o
he beginni
us meetin
cters that
reality in
f their re
l of a n
ls or post
ance or in
God or to
Now com
sky (and n
ent and t
n won the
s their inci
r). In paral
other ficti
he protago
male lover
g shouts b
ion, but w
ering of a
umankind
ent, nor or
communic
nipresent;
g of the s
with Yeo
walk aroun
their lives,
lationships
ew kind
umous re
the absen
the dead
munication
ot heaven)
he existen
game to
2
pient
lel to
n to
nist’s
here
efore
e can
ingle
in its
ganic
ation
“you
cond
g‐sil.
d the
their
The
f in‐
lities
e. In
ones;
goes
, and
e of
rt in
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The p
Virtu
poin
mer
plac
inha
neve
cons
hete
spac
relat
peo
on
tspec
In t
semi
rest
But
walk
plac
see
cour
app
the
neve
1 Virt
place
wer of Kangw
al commu
t of view, n
escape va
for the p
bitants co
rtheless,
tructed in
rotopias, s
es, historic
ing, being t
le do matc
e
situatioific quality
e films o
private sp
urants and
these atte
s, or appa
s and inte
he drivers,
se symboli
ar as a ru
separation
r in a trag
ual spaces ins (Augé, 1992
n province: ta
ication led
ature does
lve, or a se
blic spher
nstantly c
can only
public sp
parating t
l sites or s
he big city
h. Places o
and
on
tf the spac
f Hong S
aces, rarel
hotels (in
pts to in
ently irrel
rupting en
and
the
c
function (
hless instr
and, there
ic way (sin
roduced a n: 48, 100, 135
jo
me nature as a
to indistin
’t exist an
for huma
has redu
ross it e
happen i
ces. It se
heir existe
mall village
the non‐pl
relation m
e
effort
th.
ng‐soo, t
y doing i
heir apart
abit a pla
vant actio
counters a
rs are
exc
s a means
ment of s
fore, the p
ce the pas
ew layer in t‐37).
sea‐sanche
n extension of
ction betw
more: do
micro‐dra
ed it to an
pecting o
n private
ms that c
ce from a
s suffer th
ce par exc
ust be crea
at
people
e charact
in their
ents char
e are sep
ns. One o
e the taxi
lusively re
of transit t
eparation
hysical dis
sengers ca
e discussion
z.com
urban life.
een places
esticated
mas. As for
exhibition
r hunting
shelters,
ommunica
y physical
projectio
llence and
ted in each
ake
to
ge
rs struggl
own hom
cters feel
rated and
the privil
. Lacking d
arded as
t
o a differe
r return.
appearanc
n exchang
proposed b
and non‐pl
y use and
the city, it
and survei
true enc
sometime
ion in ab
space. Na
of the cit
, however,
singular c
nerate
the
e to esta
es and al
s alien as i
interrupte
ged mean
amatic fu
ansport m
t state or
losing the
of the ot
their sea
Marc Augé
aces.1 Fro
gaze, beco
weakenin
illance spa
ounters
s parado
ence mul
ural and l
and its w
the place
se: they de
m,
and
not
lish priva
ost alwa
n public sp
d by long
s for med
ction (we
achines), a
imension),
taxi door
her perso
ts, the taxi
on places an
4
this
es a
as a
e: its
hich,
ically
iplies
isure
ys of
here
pend
on
a
e or
s in
ces).
aits,
iating
ever
nd of
taxis
tates
, but
may
non‐
8/12/2019 JAS. 2012. in-transcendental Narrative-libre
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com
sepa
Virgin
Wom
A tale
Mov
mult
mis
bec
or c
encfrom
Wom
unkno
But
hom
seek
of w
2 Hon
the rbach
Monc
back, a
ration, or s
stripped bare
n in the future
of cinema: San
ements ar
ifocal com
atches, co
mes physi
ancels the
unters: the
where to
n is the futur
wn woman be
Hong’s Seo
age is paid
s company
hat he alre
g’s debt to Rlation betwelors and A t
eau (1962) o
second ta
omeone el
y her bachelo
of man: the filg‐won tries to
und the c
unication,
incidences
al and the
distance,
exhibition
stablish th
of man. Visuween 1st
and
ul is not B
to them)2:
for his wal
ady knows
ohmer becoen the charaale of cinem
La carrière d
jo
i may run
e may arri
s (the same scm ends when tabandon Yeon
ity, by car
which is d
and aband
search de
the shop
dispositif t
e perspecti
al relationship
nd still picture.
audelaire’s
the Korean
ks; he does
; his intenti
es evident icters and thea directly ree Suzanne (1
sea‐sanche
after the
e in a ano
ne from two ahe woman tak‐sil, but she f
or by foo
eveloped a
ons. The
ands an in
indow (i
pical of
th
ve.
through the
Paris, nor
“flâneur”
n’t try to fi
ion is not t
the treatm space. Somer to previo63).
z.com
first one
her taxi).
ngles in 1st
ans a taxi.
llows him in an
, have th
s a consta
ody gains
tegral stre
a shop
e spectacul
indow. There
even Roh
oesn’t bea
nd the unk
o get lost,
nt of situati scenes in Hs sequences
cancelling
d 2nd
part).
other taxi.
function
t switch of
relevance
gth. As th
r a resta
ar city
wor
is a long flash
er’s (alth
r lonelines
own, he’s
but to rec
ns and relating’s Virgin s
in Rohmer’
the distan
of spacializ
encounter
gain, lone
taxi estab
rant) facil
s also
as
a
back triggered
ugh some
, he persis
rather in s
gnize and
onships, but tripped bare
La boulang
5
e or
ing a
s and
liness
lishes
itates
axis
by the
times
ently
earch
being
also in
by her
ère de
8/12/2019 JAS. 2012. in-transcendental Narrative-libre
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reco
pers
“flân
his j
supe
clea
the
Night
The l
pers
earlprot
shot
obje
com
they
satis
may
3 Hye
of “a
steep2007:
4 Hon
CézaVictoi
gnized; his
pective is b
eur” is not
b is filmm
rior
intelli
that he is
ame struct
and day : The c
oss of rele
pectivism a
twentieth
gonist rol
s do not m
cts and sc
on to tha
rather clo
factory alt
be, some
Seung Chungperformativ
ed in episodi 129).
g approachene painted
re (Bresson,
is not a
uilt on the
a privilege
aker, write
ence
or
l
one amon
ural model
amera makes a
ance of th
differentia
century.
not only
erely serv
neries. Th
t of huma
e this pat
rnative is
imes, a bi
and David Sc mode of sity and frag
here R. Breith the sam975: 101).
jo
gaze exer
physical a
d individua
r or artist,
cidity:
the
others, a
repeated
movement to
individual
l quality co
his
is
visiith other
to punctu
e intentio
s.4 His voi
and bring
possible: t
tter and p
ott Diffrient sorytelling thentation, loo
son’s ideas oe eye and t
sea‐sanche
cise, but
nd oral as
l, no matt
and in so
multiplica
d his phys
in many ot
meet Kim Sun
in the con
mpared to
ble
in
the
haracters,
ate or sus
is to sh
shots do
the atten
e space o
ainful In‐tr
uggest that tat hearkens ks positively
n Cézanne, e same soul
z.com
n exercise
much as o
r if in the
e cases he
tion
of
na
ical and bi
ers lives a
‐nam, a force
ext of the
the narrati
fact
that
but also wi
pend the a
w that th
not open t
ion back t
intersubj
anscenden
he “cubist naback to an ipostmodern t
hen he insis a fruit bowl
of persp
the visual
ajority of
believes h
rative
per
graphical i
d trajecto
“flannêur” in
et‐society
ve perspec
he
characth the obj
ction, but
realm o
e space o
the only
ctivity hel
e, but it
rative” practdigenous or
oday. (Chung
s in the equi, his son, th
ctive, an
.3 Howeve
Sang‐soo’s
e’s gifted
pectives
tineraries f
ies.
Paris.
provides H
tivisms fro
ters
share
cts. Hong’
also to hig
inert bei
transcend
place in w
by dialog
is also the
ices by Hong
al tradition, and Scott Di
valent of all e mountain
6
this
, this
films
ith a
akes
ollow
ong’s
the
their
void
light
gs is
ence,
ich a
ue. It
only
results hich,
frient,
hings: ainte‐
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mid
an a
gaze
but
mat
to g
way
the
succ
bet
Hon
musiturn
repe
insid
be e
equi
obje
the
frag
end
it w
“ma
mat
as a
The
Cine
the
writ
phys
tran
conf
le distanc
pproaching
, which tur
also the v
riality to
t
t the view
titles, num
isual: the
ession of fr
een the na
seems de
calization
to struct
tition find
e‐cinema;
xplained b
librium. Wi
cts, bodies,
very textu
ents, as
of figurativ
s impossib
erializatio
riality of h
result of tu
director
matograph
diting roo
on note
ical work
ferring tho
ronts the r
, the cam
zoom or
s invisible,
iewer’s bo
e objects.
er involved
erated seq
work as
agments, a
rrative par
termined t
s
a
meanre. Hong
its justifi
rama, in t
the one t
thout fund
food, stre
e of the
ézanne ga
represen
le to see it;
” of paint
is plot, and
rns and rep
odels ea
ic crafts ar
, but also
ooks, but
f the han
ughts to w
sistance o
jo
ra on the
uick pan
not only t
dy, transf
The utilizat
in the ficti
ences, an
diagram
nd separati
s.
save the
s
to
harmakes visib
ation in p
e fallibilit
hat is supp
ment. Bec
ts, as if th
ilm. By d
e unity
to
ation. Céz
its image,
ing (Hong,
as an inve
etitions, he
h fragme
visible in
through th
hardly, as
pressing
itten word
the matte
sea‐sanche
ripod stay
oves. All t
e witness’
rring all c
ion of
the
on: this vo
other ma
of the acti
ng them s
story; his
nize
fragle the for
erspectivis
of memor
osed to ju
ause of thi
director
ing that,
his colors
nne absol
however,
2007: 87)
stigator, h
finally get
t with cr
some of hi
handwriti
if intellec
to engrave
s, some m
, but he al
z.com
fixed in it
his produc
s body and
orporality
irst person
ce works i
ks introdu
n, offerin
much as t
aterialism
ents
and
al games
m; fiction,
y, etc. Eac
tify. What
s the narra
ould like t
e intends
and figure
tely truste
as the onl
. In the s
turns it a
an object;
aftsman’s
s films thro
ng practice
ual effort
more tha
teriality co
o inevitabl
position,
s the effe
the directo
to the ch
voice‐over
the oral l
ed by the
a graphic
indicate p
avoids to
perspectivand narrat
in the ap
one of th
Hong buil
tive is so d
o infect th
to give c
while
bei
nature, al
thing tha
me way,
ound once
this object
patience
ugh the re
d by many
should be
to strok
es to the
falls into
eventually
t of a det
r‐author’s
racters a
does not
i
vel in the
irector, w
support t
ossible rel
urn to lyri
s:
therefoive scaffol
eal to cin
se factors
s is a syst
epending o
ir material
ntinuity t
ng aware
though he
could allo
Hong trust
and again
is the film.
nd skillfu
levance giv
characters.
translated
the lette
story: the
iction.
8
using
ched
ody,
d all
tend
same
rk in
the
tions
m or
e
he
ings:
ema‐
could
m in
n the
ity to
the
f the
knew
the
s the
until,
ness.
en to
They
into
s. By
riter
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resig
Don
Yang
the
buil
and
The
don’
diffe
But
prac
whe
Even
prev
an
a
6 The
themseparfilm smodereal: movithemalter
ned or mo
‐woo, pro
, among o
to seek su
out
of
fra
iography
incomplete
t understa
rent ways:
both ways
tice is con
men proj
when the
ents to enj
libi
for
a
t
fact that the
selves are eate some chomehow repl without, foreality is dis to movie, b
selves visibleheir own ima
re pragma
ucer Jae
hers. They
pport and
ments: ea
rom the ot
ness that
a
d the mea
when they
are wron
eived as
ect onto
seem to
oy the pre
ype
of
ch
exchange of changeable: racters from
eats the narr that reasonlayed as an
ut also insid to keep an
ge and thus t
jo
ic, but als
un, teach
are incom
comfort in
h of
these
ers witho
ffects the
ing of a lif
believe it i
g when u
way of r
omen eve
ave every
ent. One c
racter
tha
fragments deach story
the others iative model being identi
infinite web
each movie
identity that o transform
sea‐sanche
less talen
r Moon‐h
plete char
women bu
character c
t significa
The d
his e
A tal
front
ale chara
e without t
unreacha
derstood
maining b
ything the
thing (love
ould suspe
refuses
t
es not alter esults from
a certain sibut always ical to any otof variations and in each
ensures comhat makes t
z.com
ted and le
, art direc
cters, not
, as the fil
ould borro
tly changin
ay a pig fell i
itor. Sentence
of cinema: Saof his family.
ters deriv
ranscende
le through
in an ide
eyond phy
y lack (and
and art), t
ct that this
leave
th
the model dothe differenuation. And
different wer. Models c and these
character’s munication rem recogniz
s loved b
or Chang
only becau
’s narrativ
a fragme
g the mod
to the well: H by the judge.
ng‐won humili
s from
the
ce yet but
art, they s
listic mod
ical object
recreate
e obsessi
obsession
irresponsi
es not imply
es, sometimthis is the reys, so each
an be thougariations are
ehavior. Theuns in parallble.
women: t
ook or p
se a lack i
e itself, th
nt of
perso
l.6
yo‐sub patron
ated by his m
ir idealism;
they pursu
ek it in w
: when a
(or death
hem as an
n with th
with the p
ible
behavi
that the chaes minimal, levant aspectcharacter rept, but they a made visiblir struggle toel to their ef
10
rader
inter
pels
y are
nality
ized by
ther in
they
it in
men.
tistic
) and
gels).
past
ast is
or
of
acters which
: each
eats a
re not from
make
ort to
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adol
riski
Beca
man
man
Thei
conc
even
for r
ideal
effe
passthe
Turnin
Fem
avoi
don’
time
7 Th
adolefundano m
escence, di
g an enga
use of this
of these
cases th
inability t
eive as inc
violently.
elief. In the
ism and d
ts, it is we
ion. Hong
c
ottom, ine
g gate / Wom
ale charact
lonelines
t stage the
s of peacef
pathologicascence and
ments. In thre a bourge
sguised as
ement wit
idealism, a
men beco
y propitia
o relativise
omprehen
lcohol, o
narrative l
issolve pai
ll known,
ombines al
vitably, so
n is the future
rs seem m
, hard wor
ir suffering
ulness, con
l condition their incapac context of is pathology,
jo
freedom,
his/her p
nd in retur
e pathetic
e it with t
their posit
ion or ab
nipresent
evel, alcoh
n. Both al
re limited
l these
ele
e bitter se
of man / Wom
ore aware
or sufferi
and their
versation o
hat Bourdieity to enter eveloped sobut a genera
sea‐sanche
and aspire
esent.7
for freed
and are v
heir beha
ion or proj
se, and
in all the fi
ol works si
cohol and
in time. S
ents to
re
diment re
an on the bea
of reality a
g but, in o
ffort; on t
r joy. Fem
attributes “true life”) ieties, “socia
l one (Bourdi
z.com
to the re
m and rec
ictims of h
ior, their
ects brings
akes them
lms, offers
ilarly to h
humor ar
mething si
ach a certa
ains.
h / Like you kn
nd their li
pposition t
e contrar
le charact
to Flaubert has become
l adolescencu, 1992: 33‐
ards of
gnition th
miliation.
ords or t
them a su
behave r
them an al
umor: it se
addictive,
milar happ
in narrativ
w it all : alcoh
its. This a
the male
, they see
rs are mor
haracters (tstructural in
” (or even “s5).
aturity wi
at they de
It is true t
eir persist
ffering tha
dely, crue
libi or an e
rves to rela
, although
ens to lov
stability;
ol is omniprese
areness d
characters,
ready to
e complete
heir persiste a society
ocial childho
11
thout
and,
at in
ence.
they
lly or
cuse
tivise
their
and
ut at
nt.
esn’t
they
value
than
nce in
ithout od”) is
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the
so d
and,
mar
Moo
in t
defi
prof
to th
chos
“we
valui
writi
aims
by J
afte
Wom
suk, sl
In f
reas
(deri
sum,
brea
In o
posi
exit
later
deat
tryin
ale ones,
fining, be
in many ca
ied or rela
n‐sook
(W
ese cases,
ing an ide
ssionally o
e Lee Hyo
en by Don
actresses,
ng her pro
ng of his s
and she d
ong‐rae w
she falls a
n on the beac
eeping drunk i
ct, wome
ns, more
ved from
rejected
ks a vase t
her cases,
ion before
han suicid
cries as a
h. Bo‐kyeo
g to get ot
and theref
ause they
ses, they d
ted to mal
man on
th
their job
tity as thei
utside the
g‐su’s frie
‐su; but w
are normal
essional m
ript is abo
esn’t do it
ho, as she
leep befor
: Joong‐rae a front of their
are also
ecause of
mbition).
y Sung‐na
at belong
it is not h
men. Two
. In contra
child emb
ng prepar
er people i
jo
re it is mo
don’t give
n’t have a
e characte
e beach)
a
(actress,
r boyfriend
stage and
ds meetin
en she acc
women”.
erits (in co
ve any rel
. As a cons
repeats la
e the room
d Sun‐hee learoom’s door.
humiliated
men’s pre
o happens
m in a ho
to the sa
umiliation,
of these w
st to Lee H
raced by
s hers wi
nvolved or
sea‐sanche
re difficult
heir jobs t
consolidat
rs at an e
nd Sung
ok
musician,
s’ ones. Ye
ehind the
g and perf
epts to go
On the oth
ntrast with
tionship);
quence of
er, “pass
s door wh
ve the room t
and abus
otency (d
to Min Ja
tel’s room
e Sung‐na
but a hyp
omen, Bo‐
ong su, w
ong‐su an
h serenity
expecting
z.com
to propos
e importa
d job: the
rly age. Y
(Hahaha)
ourist gui
ng‐sil play
camera, fo
rms her k
o bed with
er hand,
Joong‐rae’
she doesn’
her honest
ver her” t
re they m
hrough the ne
ed in Hon
rived from
who, in v
in Paris; a
m (althoug
erexhibitio
yeong and
o pushes h
d terrified
and exec
nybody to
models. O
ce that m
are too y
ong‐sil ( A
break this
e) are no
her role o
example,
raoke scen
him, she
usician M
s obsessio
need to s
y, Moon‐s
gether wi
ke love.
room’s balco
’s films, b
insecurity
in, loves
nd to Yu‐ j
this happ
n, in whic
Min‐sum,
is characte
by the im
tes her o
stop her.
ccupation
en give to
ung, or th
tale of cin
model but,
t so relev
an actres
hen she c
e singing a
ust remind
on‐sook r
, as for hi
tage her a
ok is humil
h his new
ny and look at
ut for dif
) and frust
yo‐sub; to
eong, whe
ens in a dr
they risk
don’t find
r to the voi
minence o
jective wi
12
s not
heirs
y got
ma),
even
nt in
very
omes
song
him:
signs
the
tistic
iated
lover
Moon‐
erent
ation
Min‐
she
am).
their
other
and
real
thout
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The d
Deat
In o
deat
to ju
hap
reve
by li
to a
sexu
nutri
an I
inso
acti
corp
The d
Sex
true
diss
frust
mo
8 “Se
conflinegot
y a pig fell int
h is indicat
her films
h through
stify and
en after l
lation. Wh
tle, to
anti
n importa
al abstinen
tion, sexu
‐transcend
ar affects
n. Therefo
ses.
y a pig fell int
scenes, on
place
for
lves but d
ration, no
ents with
scenes are
cting. Sex is iated” (Kim,
the well : Bo‐
ed, but bar
haracters
ews or tes
aintain th
sing cons
t most of r
cipate deat
t part it a
ce or love
lity, rest, c
ental narr
others, th
re, funeral
the well : Bo‐
the other
encounter not close
r are heal
pleasure
explicit, remever an imp004: 223).
jo
yeong prepar
ely represe
disappear
timonies. D
transcend
iousness a
eligions pr
h: with
the
nd accept
to inexist
ommunica
tive banis
live ones,
s are avoi
yeong dreams
hand, are
,
the
mothe story, a
ed from
or patienc
itting complissioned affai
sea‐sanche
s her suicide.
nted. Only
before the
eath repre
ence’s bus
t the end
pose as a
aim of
gai
prohibitio
nt beings
ion with o
es that re
the only
ed (excep
her own fune
shown fro
ent
whes men exp
heir obse
e, depend
cated signals
r between tw
z.com
in Hong’s f
y die and
entations
iness. Fear
of life, op
ay to exo
ing eterna
s, limitati
attacks all
ther peopl
resentatio
ossible pr
t in dream
al.
tally, som
tension
cted: they
ssion. Fem
ng on ea
that are sepo lovers, but
rst film cor
e only k
ave been
of death,
ns the fie
cise that f
l life,
peopl
ns and sa
what is n
. It is und
n. Death i
tagonists
s), as well
times har
etween
mnever find
ale chara
h case. H
arately justif a site where
pses are s
ow about
sed by reli
r of what
ld of fanta
ar is to die
le have
to
r
crifices. Fa
cessary fo
rstandabl
only imp
of the dra
as the sig
hly.8 This i
en
and
wcomfort to
ters live
ong shoot
iable, but mpower is con
13
own.
their
gions
could
sy as
little
esign
sting,
r life:
that
rtant
matic
ht of
s the
men
their
those
sex
tually
tantly
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sequ
(alth
clum
The p
The
neg
alley
dirty
in so
brok
hap
pret
bath
pref
was
of s
or e
mea
suici
The d
broke
ences with
ough inevi
siness or o
wer of Kangw
idealism th
tively in
a
s and occu
sheets, so
me charac
en condo
ens to di
nders, 20
room with
rs to wash
it by mac
me charac
istential n
ns first to h
de by swall
y a pig fell int
n comdon.
out ornam
ably the s
hers’ exce
n province / A
at affects t
tigmatizati
r in narro
metimes w
ers. Hong
and mus
cover his
0) takes a
an spray; h
the sheet
ine, as hi
ers for im
eds sound
ave a sho
owing pills.
o the well: Do
jo
nts, as a si
pectator r
sive expec
Tale of cinem
he charact
on of
sexu
hotel ro
ith traces
lays with i
go to an
betrayal),
shower b
e gets later
himself in
inexpert l
gining his s
s ridiculou
er and the
g‐wu trying to
sea‐sanche
lent obser
cognizes h
tations).
: the camera
rs results
lity. Many
ms, on m
f semen.
, for exam
urology cli
or when J
fore going
astonishe
he hotel b
ver recom
exual desir
s. Sang‐wo
n to refrai
clean the dirt
z.com
er who att
is mocking
s a harsh witn
ositively i
sex sequen
ttresses se
leaning ob
le, when t
ic to mak
ae hun (V
to bed wi
by the blo
throom ra
mends. On
e as a myst
n asks Yeo
from mak
y sheets and
ends the b
touch in
ss.
a sublima
ces have
a
t on the fl
session se
he neat Do
analyses
rgin stripp
th Su Jung
od spread
ther than t
the other
erious attr
g‐sil to di
ing love be
ashing himsel
ody transa
ome char
tion of des
prologue in
oor, cover
ms pathol
ng‐woo se
(where his
ed bare b
and scent
y the virgi
aking it ho
hand, the
ction, pur
clean, an
fore comm
after discover
14
tions
cters
ire or
dark
d by
gical
s the
wife
her
s the
and
e to
ffort
love
this
itting
ing the
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Wo
repr
see
whe
Pass
all a
who
dub
her
suff
mov
Tryi
teac
cann
ange
Yeo
two
mee
sil, y
replidinn
not
her
agai
“You
hosp
A tale
en can’t
sentation
more rec
they go t
ivity is
then
e strong
considers
ing X‐cart
elationshi
ring impli
ie and spe
g to be ho
ers), used
ot resist th
ls: therefo
g‐sil reject
separate b
ting, when
ou look lik
es.
We
can’er togethe
arked by
riend in th
, on the
have enjo
ital and fac
of cinema : Do
scape the
and beha
onciled wi
o bed with
revealed
omen: yo
her inferio
ons); Moo
and takes
d; and Oki
king by h
nest, wom
sometim
em. Now,
re Yu‐ jeon
Dong‐su,
fore the s
the actress
e an angel
t
see
the
s, drunk to
cars (as hi
e hospital.
oman, wh
ed it. Eno
es his frien
ng‐su meets Y
jo
traps of i
iors, alth
h their o
their partn
s a waiver
ng Min Ja
(she work
‐sook cho
the decisi
(Oki’s fil
rself to cl
en don’t a
s to justif
they do pr
gives her
nable to o
tatue of an
comes fro
”. “You sa
atue
in
thiether, an
friends to
Only then
o, fed up
gh!” She t
d’s death.
ong‐sil under t
sea‐sanche
ealism, b
ugh they
n bodies
ers they lo
of useless
corrects
s with her
ses betwe
n to give
, 2010) sa
se the lo
cept the a
their de
fer men t
self to Su
ccupy the
angel situ
visiting t
that bec
sequence
made lov
ld him), an
he camera
ith Dong‐
kes a taxi
he statue of th
z.com
cause it is
re less fas
nd corpor
ok more n
attles or
u
he last no
voice, wak
en two me
p when sh
s the last
e triangle’
pparent si
eit or hyp
at treat th
g‐nam, M
lace of ag
ted at the
he director
use of th
but
somee, he has
d she has l
focuses o
su’s patho
nd disapp
e angel at the
deeply in
tidious an
lity. App
tural and l
nnecessary
el manusc
ing up peo
, she stru
e measure
word by i
overlappi
cerity of a
ocrisy. H
em as wo
on‐sook t
nizing Lee
hospital d
, Dong‐su t
statue of
hat
later,
iscovered
ft very ear
the stone
still follo
ars. He en
ospital’s entr
cribed in
obsessive
rently pas
less preten
fictions.
A
ript by Hy
ple by pho
gles to pre
s the amo
ilming her
ng perspec
rtists (writ
wever, w
en and n
Joong‐ra
Hyong su.
or. In thei
ells her: “Y
the angel”
fter
they’vthat her b
ly, again, t
angel, and
ing her, s
ers finally i
nce.
15
ocial
, and
sives,
tious.
most
‐sub,
ne or
serve
nt of
short
tives.
rs or
men
t like
and
hese
r first
ong‐
, she
e
had
dy is
visit
then
naps:
n the
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Deat
least
alre
And
If de
and
prop
cond
all e
the
peo
be a
of h
func
per
beca
the
tran
isola
the
lear
of c
An I
sexu
but
turni
or al
ofte
the
rape
find
bet
Mos
a co
h is not th
this come
dy dead, o
the man m
ath and its
persistenc
hets and c
emn wom
il that hu
embodime
le into sin.
ccepted as
er body. C
tion. Char
anently fa
use their a
, is only p
cendental
tion and s
ifferences, from the
mmunion
n‐transcen
al, intellect
ather node
ng to trans
ways be a
run in pa
opposite is
s. Common
by themse
een the ch
t of the na
plex tem
e end. The
out from
r rather it
ust decide.
representa
, women
hurch offic
n, their b
an beings
t of evil;
It is, there
a virgin
or
elebration
cters are
lling in lov
diction to
ssible thro
desire, a
lipsism. Se
but
that
erspective
ith other
ental narr
ual and e
s of hyperc
cendence.
sociated t
allel. Actu
shown: p
ly the char
lves, in a
aracters ar
rative task
orality sho
jo
end is lon
ong’s narr
was never
tions are th
and their
ials: volun
dies and t
suffer. As
the mere
fore, prefe
as an
angel
of women
exposed t
e. Someti
alcohol. Bu
ugh sex. In
ill of plea
xual love o
akes them
of the oth
eople mak
ative spac
otional rel
onnectivit
lthough s
love, nor
lly, in Hon
id sex, fr
acter arrive
rocess of
ise from th
of Hong’s
n as a co
sea‐sanche
liness. Bu
ative prop
alive, or it
e leading
acts have
arily const
eir desire
tated in th
ight of he
rable to hi
, that
is,
d
in Hong’s
o be moc
es they a
t what the
transcend
ure and vi
ens a com
productivr, alterity
es transce
is that o
ations. Th
that contr
x by itself
even is po
g’s films th
strated se
s to sex as
knowledge
e different
ork is to
tinuous pr
z.com
the end i
sal. The an
never exis
roponents
always b
rained to t
, and repr
e Bible, w
r body, or
e her, to a
prived of
h
film perfo
ked as w
d to this
seek is a k
ntal thoug
tality, but
municatio
. For
a limi
softens the
dence unn
ne created
moments
ibute to m
cannot, ob
ssible to m
ey rarely
x, casual s
a moment
or recogni
times each
onstruct a
esent.
not such i
gel remain
ed. The w
of religion
en the gr
he purity
sent them
man is a d
even part
oid her.
er sexualit
rms an an
manizers
ondition a
ind of conn
t is accom
lso an eff
space tha
ted time,
l
edges, and
ecessary.
by peopl
of sex are
intain the
iously, ens
atch love
atch, and i
x, allowe
of fiction t
tion. Conn
one experi
d articulat
mportant.
, because i
man mov
in its funda
eat enemi
f celibacy,
as the ori
evil’s ally,
of it, can
oman ma
, deprived
titranscend
or ridicule
bad repu
ectivity th
panied by
rt to over
t does not
vers are
a
the satisf
in their s
not black
etwork wi
ure conne
nd desire,
n some of
rape or
at they bu
ection pro
ment or in
e those ti
16
Or at
t was
s on.
ment
es of
they
in of
he is
take
only
even
ental
for
ation
t, for
n In‐
come
erase
le to
ction
ocial,
oles,
thout
tivity
both
them
ctual
ild or
lems
abit.
es in
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Pres
conc
chro
expe
hop
wea
spec
ecol
The p
Libe
opp
pres
indi
soci
diffe
hap
me
The
here
hapdesti
only
9 Kyu
chara
nt is the
erns of ext
nological
rience, res
of
happi
ening of
ies, and so
gical syste
wer of Kangw
ation of m
rtunity bu
ent with n
idual and
l network.
rent storie
ened yet
ories and
ost obvio
in their b
ened or
ha
ny that of
role is to a
ng Hyun Kicters and the
time of I
a‐individu
uture. Ind
ulting in a
ess
or
im
ur individu
cially to on
m, and mai
n province: m
etaphysica
in the for
ostalgia or
n the
nar
Hong’s fra
, the searc
r once it i
esires cros
us conditio
dies and
s yet
to
oc
those cha
ccompany
has writtematic motifs
jo
‐transcend
l pasts tha
ifference t
lightening
anent
w
ality; we
e or sever
ntaining its
ismatch (1st pa
l temporali
m of a pre
pragmatis
rative built
gmented n
h for a per
already p
sing each o
n of this im
houghts, b
ur. There
acters (ma
the one wh
on the imin Hong’s mo
sea‐sanche
ence: the
t can burd
o past an
of respon
ll‐being.
I
ust ackno
l network
equilibriu
t) and match (
ty (and et
ent full of
m, with a
together
arrative is
fect presen
st. In its i
ther, as a t
perfect pre
ut only in
re lonely
rried male
o waits! T
ortance of ies: Kim, 200
z.com
“here and
n us, and
d future i
ibility that
compens
ledge tha
. That is, t
is our ent
2nd part).
rnity pers
memory a
guish or p
ith their
also a res
t which is
perfection
ime of coin
sent is tha
terms of s
aits and
w
friends, si
ey wait a j
hese scenes 4 a: 203‐207.
now”, livi
ithout wo
s also tra
increases
tion
we
t we natur
at we are
ire respons
ective) op
d anticipa
leasure, d
urrent pa
lt of that
nly visible
, present a
cidences a
of waiting.
omething
its in
com
gle femal
b opportu
of waiting i
ing withou
ries of an
nsferred t
the chanc
ust
accep
ally belon
members
ibility.
ens the ti
tion. To liv
pends on
tners in
hi
search to
when it h
ppears as
d mismatc
.9 Characte
hat has al
any: what
friends)
nity, inspir
n the definit
17
t the
xtra‐
life
and
t
the
to a
of an
e of
this
each
s/her
atch
s not
ull of
hes.
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eady
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ion of
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Like y
Ever
thro
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but
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tem
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gh the sa
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oralities t
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ected co
at Hong sh
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neously.
present.
are
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erately pr
nces to sh
socially m
iences.
um of wh
feels, thi
otiation
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nt resona
ts always
ot the su
ifferences.
ly true, be
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ant” “Freedo
d everythin
t the same
all reme
film, const
ontinuous
aled then
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sequences
ows using
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ces (almos
Hong’s per
Past and
ms,
vision
duce conf
ow them a
tters, and
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ks, imagi
ith
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t layers, t
in course,
cession of
It might se
cause only
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”? “Sincerity”
g is availab
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ber the s
itute the b
motion up
s a delaye
o be
seen,
. Dramatic
repetition
nological
le simulta
t impossib
spectivism
resent ar
s,
cinema
sion but t
s part of t
dreams or
aracter ha
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ial
and
ph complex
at is, frag
the spect
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em that o
leaving th
ctually sp
z.com
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ll stop at th
me details
asis for the
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nd overlap
ime but w
eity; or b
le in a pro
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e same tr
e same re
films can
s seen, th
sires but
ysical
spacthat needs
mented an
tor visuali
moments
ce again it
cinemato
tialize acti
important!”.
one but n
e same thi
. These dif
cinematog
iographic
r constant
he action
replaced
of fragme
ith differe
cutting sp
abilistic a
eturn to t
n the sam
ma):
diffe
atment is,
lity. Realit
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ught, drea
it is also
s
in
whicto be sca
spatialize
es a temp
what cons
is about s
raphic ma
n; only by
t everyone
ngs, not all
ferences, a
raphic narr
l narrative
search. To
ndertaken
by a ga
nts: by foll
t tempora
ace and ti
count) se
he past b
e way dif
rences
ar
indeed, giv
is made
tive as eve
med, lived
the result
each
situnned and
d. Faced t
orality bas
titutes tim
atializatio
chine, thro
stopping i
19
goes
react
s Oki
ative,
s are
make
have
e of
wing
l cuts
e in
m to
t an
erent
not
en to
ut of
ryday
, and
of a
ation
ade
this
ed in
e but
, but
ugh a
t and
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over
to it
is pr
resig
in th
conf
The
the
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writ
meshar
writi
Hon
crea
prev
esta
view
are
laying diffe
display as
ecisely to
ning to rep
e experien
ronted to t
riting me
resent. A
works with
letion of e
en by him
orize the
l
d with th
ng, under
’s narrati
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ious plan.
lishes an
er, or, in t
articular a
rent mom
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emphasize
resent its c
e of
durati
e duration
hod practi
he has e
a very bas
ach scene
every mor
ines. Besid
crew ine
he pressu
e: a certai
details an
It also ex
absolute p
e realm o
d fallible.
jo
nts or acti
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the ephe
omplexity.
on, no
mat
’s disruptio
ced by Hon
plained on
ic idea of t
akes place
ing before
s that,
th
vitably aff
e of a pro
n closure
d not throu
lains the
esent. Pas
fiction, in
sea‐sanche
ns, in a w
n of fictio
eral and
Understan
ter how
th
n of the ac
g‐Sang‐so
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during the
shooting e
materialit
cts the co
duction pl
of each s
gh a dram
relativity
t only exis
the charac
z.com
y that avoi
into docu
elusive co
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e spectator
tion repres
is consiste
asions, for
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filming pr
ach scene.
y of
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lo
nstruction
n, also ex
quence on
tic develo
f tempor
ts in the
ter’s mem
ds the pre
ent. The
dition of
plexity tak
’s experien
nted in th
nt with his
the film p
lan (Huh 2
cess, and t
Actors bar
ations an
of the fict
lains the f
itself, an
ment that
l chaining:
emory of
ry. But all
ent, woul
director’s c
present wi
es place in
ce of
durat
e film.
commitm
reproducti
007: 42‐42
he dialogu
ely have ti
the
exper
ion. This u
ragmentati
how link
would req
writing a
the autho
those me
20
lead
hoice
thout
time,
ion is
nt to
n he
. The
s are
e to
ience
rgent
on of
s are
ire a
lways
, the
ories
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Virgin
same
The
rega
wornarr
repr
tow
simil
be e
one
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pre
repr
gen
an a
exist
built
addi
pote
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by c
with
in a
dire
Som
rem
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met
simil
not i
way
stripped bare
scene in the se
difference
ined life, c
that,
for
tive in ti
sentation
rds the pr
ar to an ex
xperienced
individual
subjetivity.
ises are
in
sented, a
rate an “i
lternative
ence, and
on the fall
tion to mul
ntial narra
ters, temp
hance). H
out reduci
emory ga
tor (given
etimes, div
mbers eat
mber
at
tten; Kyun
Sun Young,
ar movem
mply comi
that future
by her bachel
cond part.
between
nstitutes
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monues of its
in times o
esent, the
ra‐tempor
. However,
alone m
Unlike Pr
tersubjetiv
d is only
manent t
to transce
by showin
ibility and
iple possib
ives that
rary rules
ng faces t
g them in
me similar
is writing
erging me
ing steaks
ll).
Or
so
g‐soo tries
the woma
nts to tho
g back: we
may repea
jo
rs. Jae‐hun m
experience
ne of the
entality
aissolution,
f its impos
narrator
lity and, t
what matt
tch, but
ust, Hong i
ity and
irr
ignificant i
anscenden
dence ma
the async
selectivity
ilities of se
an also be
within eac
he spectat
ynchroniz
to that pla
ethod).
ories coul
t his frien
relevant
t to remem
n he now o
e now don
could rath
t both.
sea‐sanche
eets Su‐ jung a
and me
narrative
nd
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auis very cl
ibility). Re
chieves a
en, to a di
ers in Hon
how the
s committ
versibility.
f affects t
ce” (Ricoe
nifested in
hrony of s
f memory
uencing t
structure
h chapter),
or to a ra
tion: ther
ed by the
d be appar
d’s place (
at
its
incrber somet
bsessively
e after he
er conside
z.com
nd she gives h
ory, bet
ain lines
thor’s
amse to Céz
trieving th
tight and
ension in
’s work is
imprecisio
d to a tem
Past only
e present.
r, 1984: 5
the recog
hared expe
: the multi
e time of a
accordin
and to dif
nge of dif
is no othe
haracters
ently irrele
omething
edible
thaing so im
esires, fift
. What is c
that past r
im the gloves.
een exper
f In searc
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to
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past time
esonant t
which tran
ot how life
of me
porary con
exists as
m
Time circ
4), it rath
nition of
riences. Vi
lication of
ction, resul
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erences to
r choice th
hemselves
ant or an
either he
one
of
tortant as
en years a
rucial is th
epeats pre
Up: first part.
ienced life
of lost ti
aintain
ths to ensur
and progr
mporality,
scendence
and mem
ories lea
struction
emory, is
lation doe
er makes
ther’s tem
rgin… is en
perspectiv
lts in a myri
nt forms (
iples (by n
be discov
n to parti
, and also b
cdotic: Do
nor his wif
e
partnerhe first ti
go, when
at memory
sent in the
21
Down:
and
e (a
e
big
e the
ssing
very
could
ry of
s to
hose
ever
s not
isible
poral
tirely
es, in
ad of
arts,
eed /
ered,
ipate
y the
ng‐su
e can
s
has
e he
e did
does
same
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Tale
opticithe pr
Rep
peo
indi
and
beca
pers
posi
Whe
alien
the
that
of th
kno
The
mai
the
or e
mod
explnarr
mys
intel
12 Da
refer
f cinema: Sann’s assistant.
evious scene w
tition ma
le. Actuall
iduals: the
if
they
are
use their p
on. People
ion. Can
n recognizi
ation or tr
ractice of
constitute
is excess i
ledge free
ay of In‐t
taining his
ission ass
en as hu
el of art.
ration in
tive on t
ery that on
ligence no
id Scott Diff to those ever
g‐won makes Dong‐su rep
as shot.
affect th
, the dive
rememb
now
able
osition has
change in t
e underst
ng this po
gic sacrific
humility.
and inhabi
the other
d from ide
anscenden
integrity in
igned in m
iliation, i
But can al
society
t
e diverge
ly he could
t only su
rient proposyday momen
jo
an appointmats the same
experien
rgence of
r different
to
recogn
changed.
he same w
and then
sibility, th
e. And one
nly a hum
him, but a
s what ope
ls and pass
ce not only
relation t
odernity. T
it is consi
o be rega
at renoun
ces betw
access and
presses t
s the term
s burden wit
sea‐sanche
nt with Yeoncene after foll
e of an i
emories i
things bec
ize
what
i
hanging p
y that diff
hat peopl
old indivi
of the few
le individ
lso of thos
ns the wa
ion freed f
liberates t
the socie
his liberati
dered fro
rded as t
ces myste
en memo
reveal, po
he religio
mundane trh special rele
z.com
g‐sil (characteowing Yeong‐s
dividual,
s indicativ
ause they
another
sition can
rent indivi
and posi
ual is face
exits to thi
al can be
that exce
of the In‐
om torme
e individu
y he enroll
n can be
the arro
e opening
y. Hong’s
ies and p
ints in this
s thought
nscendence”ance or signi
) after meetiil (actress) to t
ut may a
of a cons
ere in dif
oment
th
alter even
uals may
ions are i
d to the di
s dilemma
ware of p
d him. It i
ranscende
ts.12
l from the
in, but al
nderstood
ant persp
of a new
ecision of
rspectives
irection. I
, but also
, borrowing
ficance (Diffri
ng her by chhe same optic
lso affect
tant mobil
ferent posi
ey
didn’t
the identit
ccupy the
terchange
lemma bet
may be fou
eople and
the explo
nce; that o
responsibil
o frees art
as degrad
ctive of a
field of f
building
u
, and not
‐transcend
question
it from Bergsient, 2008: 9
22
nce as where
other
ity of
tions,
ee
is
of a
same
able?
een
nd in
times
ation
ne of
ity of
from
tion,
n old
rmal
p his
on a
ental
the
on, to
).
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poss
tran
the
Wha
ever
In‐tr
But
repr
who
narr
him,
shot
Oki’s
using
At t
the
One
spec
silenrelat
crite
remi
relat
but
inter
also
ibility of lit
cendental
xistence o
t happens
thing? W
anscenden
hat Hong
sentation
did not w
tive as an
and her fil
by her fell
ilm: Jingu intepan movement
e end of th
udience,
spectator,
ifically abo
t
beside
ionship. He
ria cannot
nds him t
ionships. Y
ather as a
vention of
a refusal t
erature an
attitude.
f pockets
if every
at kind
of
al narrativ
offers is,
of the final
nt to resig
artistic for
seems m
w student
rogated by an
s and zoom.
e first of t
fter the sc
a young w
ut how he
im
durin tries to av
be mixed
hat his fil
ung direc
headlong r
the chair
see, a des
jo
art consid
ost of mo
f mystery
ystery is
artistic pro
e constitut
t the sam
battle of t
to figurat
m. Howev
ore suited
Jingu.
audience mem
e four sect
reening of
man sittin
feels after
the
talk,oid the qu
with pers
ms are a
or’s angry
sh that do
an saves t
erate atte
sea‐sanche
ered as su
ern literar
in the con
eradicated,
duction is
es one of
time, an
ranscende
ive paintin
r, his char
to contem
ber about his
ions of Oki
his last fe
in the firs
having sle
and
havstion, arg
nal life a
out daily
reply does
es not sati
he situatio
mpt to kee
z.com
bstitutes o
and artist
ciousness
if science
possible in
he possibl
example o
tal being
g of nature
acters con
orary expe
ersonal life. T
’s film, dire
ature film,
t row, asks
pt with th
caused
ing that ar
d ethical
life and
not serve a
fies anyon
n. The dir
p that smal
religion, t
ic creation
of contem
and thin
this new
s
answers
In‐transce
gainst itse
, neither d
radict him:
rience tha
e sequence c
tor Jingu s
ready for
him about
main actr
he
break
istic practi
criteria. B
bout mor
s a convin
, neither
ctor’s refu
l share of
hus preser
was found
orary soci
ing can e
ituation? H
o this que
ndence an
lf. Like Céz
es Hong t
: Oki contr
to learnin
nsist in just on
tands in fr
some ques
his person
ess, who s
of
her
f ce and aes
t the spe
ality in h
ing explan
imself. Onl
sal to ans
ystery to
23
ing a
d on
eties.
plain
ong's
stion.
d the
nne,
film
dicts
g film
e shot,
nt of
tions.
l life,
tands
rmer
hetic
tator
man
tion,
y the
er is
hich
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cont
rece
expl
free
Oki’s f
Unli
othe
refle
depl
inco
final
coex
instr
form
crea
topi
sens
for a
Augsur
Bourlitté
Gén
Bresfrom
emporary
iving some
in what i
om and hi
ilm: Oki takes
e Jingu, O
rs her rel
cted in th
oyment of
patibility
decision.
istence of
umentaliza
that serv
ed by Hon
s. And yet,
e at this st
rt in the ti
1992. odernité, S
dieu 1992.aire, Seuil,sis y estru
son 1975. the Spanis
artist does
critics an
not und
authority.
er two lovers
i makes a
tionship
first thr
parallel si
of differen
Her propo
opposites,
tion of life
s to und
g, the for
when Oki
ge an art
e of In‐tra
arc Augeuil, Paris,
Piere Bo Paris, 19tura del ca
obert Breh translati
jo
n’t want t
reply: “th
rstood, b
Also his ig
o the same pl
rystalline
ith two
e sections
tuations, c
t personali
sal is a p
and inte
in benefit
rstand life
s of both
s film finis
ot useful f
nscendenc
, Non‐lieu
1992.
rdieu, Les
2. Quoted
mpo literar
son, Notes
n: Notas s
sea‐sanche
o renounc
ey don’t
cause in
orance, hi
ce. With the y
ilm in orde
en whose
of the fil
ontradicto
ies and te
rous narr
ested in
f the form
. Obviousl
films have
hes, a que
or life? Or:
?
Versi
x. Introd
Règles de
from the
io, Anagra
sur le ciné
bre el cine
z.com
; he can
nderstand
that silenc
ignorance
ounger, she cli
r to under
perspecti
m. Oki’s v
y but pos
poralities
tive, open
ranslations
, Oki respo
, both Jin
been deci
tion stron
is to be us
Univ
n inglesa r
ction à
l'art. Gen
Spanish ea, Barcelo
matograph
matógrafo,
always ap
me”, and
e, suppose
of himself.
bs higher.
tand herse
es, someh
oiceover a
sible, and
both her b
to simult
. To an a
nds with th
u and Ok
ed by hi
ly resonat
eful for life
ersity of Ca
evisada po
ne anthr
se et stru
ition: Las
a, 1995.
e, GallimarÁrdora Ed.
eal to it
re uses th
dly, resid
lf and expl
ow, have
ccompanie
justifies, i
ehavior an
aneities, t
rt conceiv
e inventio
i are char
, as well a
s: does it
the only c
José A. Sá
stilla‐La M
Jennifer
pologie
cture du c
reglas del
d, 1975. Q , Madrid, 2
24
hen
n to
s his
in to
been
s the
the
d her
the
d as
of a
cters
s the
make
hoice
chez
artea
ncha
cColl
e la
amp
arte.
oted
002.
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ChuRemFracSear
New
Gomsimp
Hon
Huh,
IshaLièg
Kim, Sang
200
Kim. Julia
Ricoicti
XXI,
Scotell i
This Shar
g and Scoember, Reured Films
ching. Cult
York Press
beaud 200le finit touj
, 2007: Ho
2007: Huh
pour, 199, Ed. Yello
2004: Kyu‐su’s Films
, pp.
203
‐2
2007: Kyun Stringer (
ur, 1984: n, Le Seuil,
México‐Ma
, 2008: Dato a well” ,
work is
eAlike 3.0
tt, 2007: embering
of Lee Chre and id
, 2007, pp.
3: Adrien
ours par a
ng Sangsoo
Moonyun
: Youssef Now, 199
g Hyun Ki, en The
30.
ng Hyun Keds.), New
Paul Ricoe 1984. Qudrid, 1998.
id Scott Di en Postcri
licensed
nported Li
ye Seung
to Forgetang‐dong antity in co
115‐140.
ombeaud, paraître”,
and Huh
, Hong San
Ishagpour, 4.
, “Too Eaemasculin
im, “The aKorean Cin
r , Temps e
ted from t
ffrient, “Drt , v 27 nº
under a Ccense.onC
Chung and: The Politind Hong Sntemporar
“Entretien
n Positif:
oonyung,
gsoo, KOFI
Formes d’i
ly/Too Lataton of K
wkward trma, Edinb
t récit . To
he spanish
ift and dur, summer
reative Cmmercial‐
David Scocs of Meang‐soo”, iy Korean
avec Hong
evue de ci
Interview”
, 2007.
permane
: Temporarean Cine
veller in
urg Univer
e II: La co
translatio
tion in Ho008, pp. 8
mmons AhareAlike
tt Diffrienory and
n Frances inema, Sta
Sang‐soo ‐
ema, 505:
, in Huh, 2
ce: l’style
lity and Rea, Duke
urning Ga
ity Press, 2
nfiguration
: Tiempo y
g Sang‐so‐99.
ttribution‐
.0 Unport
, “Forgettiodernity iateward.
te Univers
Une form33‐37.
07, pp. 41‐
de Yasujiro
petition in
niversity
e, en Chi‐007, 170‐1
dans le ré
narración,
’s The day
onCommd License.
g to
the
Seoul
ity of
très
106.
Ozu,
Hong
ress,
un y
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it de
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rcial‐
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