JAS. 2012. in-transcendental Narrative-libre

8/12/2019 JAS. 2012. in-transcendental Narrative-libre

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May

invit

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and

finit

and

and

not

Hon

mat

depi

tran

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dra

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retri

in th

In‐t

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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



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





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‐



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



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‐





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





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



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

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aturity wi

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characters,

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e complete

heir persiste a society

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11

thout

and,

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13

own.

their

gions

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sy as

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matic

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men

their

those

sex

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and scent

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hand, the

ction, pur

clean, an

fore comm

after discover

14

tions

cters

ire or

dark

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gical

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love

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ivity is

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ot resist th

ls: therefo

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have enjo

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and beha

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and takes

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the actress

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t

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oman, wh

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traps of i

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comes fro

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atue

in

thiether, an

friends to

Only then

o, fed up

gh!” She t

d’s death.

ong‐sil under t

sea‐sanche

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use of th

but

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focuses o

su’s patho

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deeply in

tidious an

lity. App

tural and l

nnecessary

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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

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obsessive

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fictions.

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ng perspec

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Hyong su.

or. In thei

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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

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visit

then

naps:

n the



Deat

least

alre

And

If de

and

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all e

the

peo

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func

per

beca

the

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the

lear

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sexu

but

turni

or al

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rape

find

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this come

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the man m

ath and its

persistenc

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emn wom

il that hu

embodime

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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

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ust decide.

representa

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hurch offic

n, their b

an beings

t of evil;

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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

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strated se

s to sex as

knowledge

e different

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tinuous pr

z.com

the end i

sal. The an

never exis

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always b

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r body, or

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prived of

h

film perfo

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seek is a k

ntal thoug

tality, but

municatio

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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

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not such i

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of religion

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he purity

sent them

man is a d

even part

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er sexualit

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manizers

ondition a

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t is accom

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space tha

ted time,

l

edges, and

ecessary.

by peopl

of sex are

intain the

iously, ens

atch love

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of fiction t

tion. Conn

one experi

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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

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thout

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both

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Pres

conc

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The p

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indi

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The

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only

9 Kyu

chara

nt is the

erns of ext

nological

rience, res

of

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gical syste

wer of Kangw

ation of m

rtunity bu

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ories and

ost obvio

in their b

ened or

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role is to a

ng Hyun Kicters and the

time of I

a‐individu

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ess

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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

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us conditio

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s yet

to

oc

those cha

ccompany

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jo

‐transcend

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lightening

anent

w

ality; we

e or sever

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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.

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ust ackno

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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

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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.

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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.

s are

eady

a sad

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wha

pertake

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chai

diffe

the

this i

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thing is im

gh the sa

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s them evi

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oralities t

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reduce to

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What is impor

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d everythin

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all reme

film, const

ontinuous

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sequences

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m a possi

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Hong’s per

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tters, and

at every c

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t layers, t

in course,

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cause only

we could

sea‐sanche

”? “Sincerity”

g is availab

time, not a

ber the s

itute the b

motion up

s a delaye

o be

seen,

. Dramatic

repetition

nological

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spectivism

resent ar

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cinema

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films can

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spacthat needs

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tor visuali

moments

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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

e so effec

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



over

to it

is pr

resig

in th

conf

The

the

only

com

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

ed throug

ious plan.

lishes an

er, or, in t

articular a

rent mom

past, to th

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

e conversi

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

many occ

e plot and

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

ding of co

e spectator

tion repres

is consiste

asions, for

the work

filming pr

ach scene.

y of

the

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



Virgin

same

The

rega

wornarr

repr

tow

simil

be e

one

inter

pre

repr

gen

an a

exist

built

addi

pote

chap

by c

with

in a

dire

Som

rem

remforg

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

its

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

the

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

ition

to

nne effort

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

to differe

erent prin

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



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

).



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



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.



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

9.

it de

Siglo

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