May
invite
impo
frees
trans
and
finitu
and e
and
not a
Hong
mate
depic
trans
ideal
dram
Womainterru
“Hon
escap
beac
retrie
in th
In‐tr
in‐transcen
es to humil
ose criteria
s of respons
scendental
celebrates
ude and last
earthy lone
surrounded
an easy one
g Sang‐soo’
erialized in
cted situat
scendent a
lism causes
ma is always
an on the beacupts the scene.
nestly, I beli
ping from t
ch during lo
eves her inn
e game and
ranscende
ndence con
ity in relatio
based on th
sibilities tha
intelligence
them. In‐tr
t decay; enj
eliness; seek
d by useles
e.
s film prod
both, the n
tions and
apprentices
them the s
s relativized
ch: the speech The sea as a de
ieve in the
the hotel to
ow tide. M
nocence. Jo
d wraping h
jo
ental narra
nstitute now
on to other
he applicati
at exceed p
e cancels th
ranscenden
joy love and
k the good i
s fictions, c
uction is a c
narrative co
events. Ma
s. The clas
suffering th
through pa
on stars as a e‐romantized w
stars”, says
ogether wit
oon‐sook l
oong‐rae fal
his desire fo
sea‐sanche
ative: the
wadays a m
rs and the p
ion of supra
people‘s cap
he mystery;
tal people
d encounte
in spite of t
cynical lies
crystalline e
nstruction
any of his
sh betwee
hat opens t
athos or hu
prelude for thewitness.
s Moon‐soo
th director J
ooks at the
lls in the tra
or the wom
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mode of res
planet, mov
a‐human tr
pacity or un
it reconcile
affirm life
ers despite b
their limitat
and militan
example of
and the det
male cha
en In‐trans
he films dra
mor.
e first kiss. A p
k in Woma
Joong‐rae f
e sky and
ap, allowing
man with the
Hong Sang
sistance? In
ing away th
uths or exis
ndermine th
es people w
and accept
being aware
tions. Burde
nt dogmatis
In‐transcen
tails that ho
racters are
scendence
amatic spac
phone call from
n on the be
for a nightt
remembers
g Moon‐soo
e idealism p
g‐soo
n‐transcend
he temptati
stences. Bu
heir integrit
with their b
t their inevi
e of their co
ened by ide
sm, their ta
ndental tho
old it, and i
e shown a
and rema
ce, howeve
m the betrayed
each (2006)
time stroll i
s her childh
ok to involve
projected o
1
dence
on to
t also
ty. In‐
odies
itable
osmic
ealism
ask is
ought,
n the
as in‐
aining
er this
d friend
after
n the
hood,
e him
n the
stars
relat
trans
imag
attem
corre
supp
gues
hum
curre
intel
A tale
The
towe
can s
part,
Some
town
unco
comm
trans
but i
past
comm
throu
we k
elect
s. The char
ionship, an
scendental
gine his dea
mpt of suic
esponds th
posedly jum
s that such
an, not be
ent state, b
ligence.
of cinema start
sun closes
er opens it.
see it from
, shortly be
ehow, the t
n as floatin
oordinated
munication
scendence,
in the actu
time, the
munication
ugh the atm
know that
tronic send
racters use
d to justify
fictions re
ath: the sun
ide in A tal
at of the m
mping into t
a distant a
cause of th
but because
ts with Seoul’s
A tale of ci
The prese
everywhere
fore repeat
tower const
g because
and fallible
tower su
one based
al possibilit
individual
was alway
mosphere, w
is made p
ers and rec
jo
the landsc
their dece
elated to lo
n takes the
le of cinem
mother. Th
he void: “M
and deaf su
he insignifi
e the sun is
communication
inema first
nce of the
e in the tow
ting the seq
titutes an a
of the ove
e memorie
ubstitutes t
not in the
ty of comm
in solitude
ys through a
which gives
possible by
ceivers. Ele
sea‐sanche
cape to cre
it (to his fri
ove‐desire,
place of th
ma (2005). T
his is what
Mother!” W
n will not b
cance of th
s matter an
n tower and clo
part in the
sun is punc
wn”, says D
quence of t
anchor for t
erexposed f
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the sun a
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munication f
could only
an immater
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y the wave
ectronic com
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Sang‐won
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To the figur
the torme
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those chara
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s a symbo
n of paralle
from a dist
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what we call
es’ movem
mmunicatio
on that fits
er pretende
needs ano
witness of t
re of the fe
nted young
e her react
by the suff
h of the h
not sentime
un.
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ower is om
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acters that w
reality in t
of their re
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els or posth
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l sky (and n
ent and th
on won the
s their inci
er). In paral
other fictio
the protago
emale lover
g shouts b
tion, but we
fering of a s
umankind
ent, nor or
communic
mnipresent;
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g with Yeon
walk aroun
their lives,
lationships
ew kind o
humous rea
the absenc
the dead
munication
not heaven)
he existenc
e game to a
2
ipient
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on to
onist’s
here
efore
e can
single
in its
rganic
cation
“you
econd
ng‐sil.
d the
their
. The
of in‐
alities
ce. In
ones;
goes
), and
ce of
art in
their
trans
A tale
The i
living
depe
some
world
chara
some
Turninhomag
Being
space
comm
relat
infor
not
video
and d
many
envir
r attempt
scendence.
of cinema: com
individual, d
g as a hum
ends on visi
ehow the p
d, social d
acters must
etimes feel
ng gate: Myeonge to Lee Hyong
g visible do
e of urban
munication
ionships, f
rmation wit
addicted to
os); howev
dispersion c
y films happ
ronment.
to consti
mmunication to
deprived of
man, as a su
ibility. First
perception,
disappearan
t strive to re
the need to
n‐sook dance ing su.
oes not gua
n daily life
tools see
fragmentati
thout comm
o mobile p
er, their in
characterist
pen outside
jo
itute them
wer is visible fr
the transce
ubject of s
condition
emotion a
nce means
emain visib
o make inro
n front of Gyung
rantee inte
e, nor in i
m designe
on and at
municating
phones and
teraction p
tic of virtua
e Seoul), the
sea‐sanche
mselves as
rom everywher
endental re
peech, mea
is to be vis
and though
no longer
le, but also
oads in the f
g‐soo and his f
eraction, ev
its expansi
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tomization
experience
d seem com
physically tr
al metropol
eir behavior
z.com
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sible; secon
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those reco
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friend / A tale o
en less com
on as a v
uce multip
of narrativ
. It is true
mputer illit
ranslates th
is. Even wh
r is that of c
native to
the urgent
n social exis
d one, to b
rs. In an In
Therefore,
nciled with
bility.
of cinema: Yeon
mmunication
virtual net‐
lication an
ves, in sho
that Hong’
terates (exc
he forms o
hen they lea
citizens alie
an impos
need of life
stence, and
be able to a
n‐transcend
non‐recon
their way o
ng‐sil’s karaoke
n, neither i
society. Ra
nd dispersio
ort, to tra
s character
cept for ed
of fragment
ave the city
n to the ph
3
ssible
e. But
d this
affect
dental
nciled
of life
e at the
n the
ather,
on of
nsmit
rs are
diting
tation
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ysical
The po
Virtu
point
mere
place
inhab
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cons
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space
relat
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spec
In th
semi
resta
But t
walk
place
see t
cours
appe
the s
neve
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ual commun
t of view, n
e escape va
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bitants co
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tructed in
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es, historica
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ple do matc
he situation
ific quality o
he films o
private sp
aurants and
these attem
s, or appar
es and inter
the drivers,
se symbolic
ear as a rut
separation
er in a trag
ual spaces ints (Augé, 1992
on province: tam
nication led
ature doesn
lve, or a set
ublic sphere
nstantly c
can only
public spa
eparating th
al sites or s
the big city
h. Places of
n and on th
of the space
of Hong Sa
aces, rarel
d hotels (in t
mpts to inh
rently irrele
rrupting en
, and the ca
c function (a
thless instru
and, there
gic way (sin
troduced a ne: 48, 100, 135
jo
me nature as a
to indistin
n’t exist any
t for human
e has reduc
ross it ex
happen i
aces. It see
heir existen
mall village
the non‐pla
f relation m
he effort th
e.
ang‐soo, th
y doing it
their apartm
habit a plac
evant actio
counters ar
ars are exc
as a means
ument of se
fore, the p
nce the pas
ew layer in th5‐37).
sea‐sanche
n extension of
ction betw
ymore: dom
n micro‐dra
ced it to an
xpecting o
n private
ems that c
nce from an
es suffer the
ace par exce
must be crea
at people m
he characte
t in their
ments chara
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ons. One of
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shelters,
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own hom
acters feel a
arated and
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garded as tr
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or return. C
appearance
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proposed by
and non‐pl
by use and g
the city, its
and survei
true enc
sometime
tion in abs
space. Nat
n of the city
, however,
singular ca
nerate them
e to estab
es and alm
as alien as in
interrupted
eged mean
ramatic fun
ransport m
nt state or d
Closing the
e of the ot
e their seat
y Marc Augé o
laces.1 From
gaze, becom
s weakening
illance spac
counters w
es paradox
sence mult
tural and le
y and its wa
the place w
ase: they de
m, and not
blish privat
most alwa
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ns for med
nction (we n
achines), a
dimension),
taxi door s
ther person
ts, the taxi
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4
m this
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ce: its
which,
xically
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ays of
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epend
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waits,
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or ca
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hom
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2 Honthe rebacheMonc
e back, a
ration, or s
stripped bare ban in the future of cinema: San
ements aro
ifocal comm
matches, co
omes physic
ancels the
ounters: the
m where to e
an is the futureown woman bet
Hong’s Seo
age is paid
s company
hat he alre
g’s debt to Relation betweelors and A tceau (1962) or
second tax
omeone els
by her bachelor of man: the filg‐won tries to
ound the c
munication,
oincidences
cal and the
distance,
e exhibition
establish th
e of man. Visuatween 1st and 2
oul is not B
to them)2: t
for his wal
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ohmer becomeen the charatale of cinemar La carrière d
jo
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the shop w
dispositif ty
e perspectiv
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audelaire’s
the Korean
ks; he does
; his intenti
mes evident incters and thea directly refde Suzanne (19
sea‐sanche
after the
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or by foot
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is a long flashb
mer’s (altho
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but to reco
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the distanc
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s, he persist
rather in se
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earch
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also in by her ère de
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persp
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may
3 Hye of “a steep2007:4 HonCézanVictoi
gnized; his
pective is b
neur” is not
ob is filmm
erior intellig
r that he is
same struct
and day: The ca
loss of relev
pectivism a
y twentieth
agonist role
s do not m
cts and sce
mon to tha
rather clos
factory alte
be, somet
Seung Chungperformativeed in episodic 129).
ng approachesnne painted wire (Bresson, 1
s is not a
built on the
a privilege
aker, write
gence or lu
one among
ural models
amera makes a
vance of the
differentia
h century. T
e not only w
merely serve
eneries. Th
t of human
se this path
ernative is
times, a bit
g and David Sce mode of stcity and fragm
s here R. Breswith the sam1975: 101).
jo
gaze exerc
physical an
d individua
r or artist,
ucidity: the
g others, an
s repeated
movement to
e individual
al quality co
This is visi
with other c
e to punctu
he intention
ns.4 His void
h and bring
possible: th
tter and pa
cott Diffrient storytelling thamentation, loo
sson’s ideas oe eye and th
sea‐sanche
cise, but a
nd oral as m
al, no matte
and in som
multiplica
nd his phys
in many oth
meet Kim Sung
l in the cont
ompared to
ble in the
characters,
uate or susp
n is to sho
d shots do n
g the attent
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ainful In‐tr
suggest that that hearkens oks positively p
on Cézanne, whe same soul
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tion of nar
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the narrati
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but also wi
pend the a
ow that the
not open th
tion back to
f intersubje
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he “cubist narback to an inpostmodern t
when he insist a fruit bowl
e of perspe
n the visual
majority of
believes he
rrative pers
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net‐society
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ce, but it i
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ts in the equi, his son, the
ective, and
l.3 However
Sang‐soo’s
e’s gifted w
spectives m
tineraries f
ries.
Paris.
provides H
tivisms from
ters share
ects. Hong’s
also to high
f inert bein
f transcend
place in wh
d by dialog
is also the
ices by Hong al tradition, g and Scott Dif
ivalent of all te mountain S
6
d this
r, this
films
with a
makes
ollow
ong’s
m the
their
s void
hlight
ngs is
ence,
hich a
ue. It
only
results which, ffrient,
things: Sainte‐
dime
expa
The f
neve
out t
rand
lives.
insist
willin
seem
almo
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fragm
mem
the
beco
The podon’t gIn the friend
Spati
whic
searc
proce
than
imag
the a
seldo
ension in w
ansion of the
fact that ma
er participat
the conditio
omly chose
. The intere
t in the tas
ngness to e
mingly simp
ost always
acters or e
mentation
mories. Mor
reconstruct
ome spatials
ower of Kangwoget to meet. Thfirst part, the .
ialization a
h as such,
ches its fu
eeds throu
sequences
ges; movem
adventures
om used, an
which individ
e self in the
any shots b
te in the pl
on of mere
en and not
esting thing,
sk of transl
explore diffe
ple plot into
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established
and repet
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tion of a
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nd physica
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duals can m
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examples g
especially
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linear actio
‐sook and Sang‐f the movie (les Ji‐sook and h
lization are
to idealism
n the mat
ition of fra
ents are so
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sea‐sanche
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the dramat
given to the
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with an In
esigning the
events, st
onceived mo
t scarcely t
uts and omi
distance. C
s, details, o
eir loneline
howing cha
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racters and
examples of
ves to just o
erences app
elling a sto
es. The cor
imes interf
mporalities.
different g
elliptically a
tions, as c
n to the Kangwnt perspective ond one, it follow
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issions). Ho
lose ups an
or empty lan
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aracters wh
ness that p
their lives:
f certain ki
one model b
pear. Hence
ory and to t
re of the p
fered by
. Hong prac
gazes, diff
and syncop
communicat
won province, bone hour later ws Sang‐gwon
dental narr
characters
and things.
quent “table
ynamism to
ong accomp
nd pan shot
ndscapes. I
7
oy an
o will
points
: lives
nd of
but to
e, the
urn a
plot is
other
ctices
ferent
pated,
tions,
ut they (right). and his
ative,
, and
This
eaux”
o the
panies
ts are
n the
midd
an a
gaze,
but
mate
to ge
way
the v
succe
betw
Hong
musi
turns
repe
insid
be ex
equil
objec
the v
fragm
end o
it wa
“mat
mate
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The
Cinem
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write
phys
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confr
dle distance
pproaching
, which turn
also the v
eriality to th
et the viewe
titles, nume
visual: they
ession of fra
ween the na
g seems de
icalization a
s to structu
tition finds
e‐cinema; d
xplained by
librium. Wit
cts, bodies,
very textur
ments, as C
of figurative
as impossib
terialization
eriality of h
result of tur
director m
matographi
editing room
e on noteb
ical work o
sferring tho
ronts the re
e, the came
g zoom or q
ns invisible,
viewer’s bo
he objects. T
er involved
erated sequ
y work as a
agments, an
rrative part
termined to
as a means
ure. Hong m
s its justific
drama, in th
y the one t
thout funda
food, stree
re of the f
Cézanne gav
e represent
le to see it;
n” of paint
is plot, and
rns and rep
models eac
ic crafts are
m, but also t
books, but
of the hand
oughts to wr
esistance of
jo
era on the t
quick pan m
, not only th
ody, transfe
The utilizat
in the ficti
uences, and
a diagram o
nd separati
ts.
o save the
s to harmo
makes visib
cation in p
he fallibility
hat is supp
ament. Bec
ets, as if the
film. By do
ve unity to
tation. Céza
its image,
ing (Hong,
d as an inve
etitions, he
ch fragmen
e visible in
through the
hardly, as
d pressing
ritten word
f the matter
sea‐sanche
tripod stays
moves. All t
he witness’s
erring all c
ion of the f
on: this voi
d other mar
of the actio
ng them so
story; his m
onize fragm
ble the form
perspectivis
y of memor
posed to jus
cause of thi
e director w
oing that, h
his colors
anne absolu
however, w
2007: 87)
estigator, he
e finally gets
nt with cr
some of his
e handwriti
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fiction.
8
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those
5 Honthink (Hong
of cinema: Sang his film treatm
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fantasy; on
g’s characte
orption lead
g‐won, in fr
riend “I wil
ng my hai
nfiguration
write his scr
cts his word
avior.
man is the fu
of expressi
production
obsession, u
mplete cha
rrupt by find
acters in Th
cure in his
obsessed b
writers, film
rayed in we
e films, the
g: “There are it’s a good exg, 2007: 80).
n‐wong writing ment.
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ationships th
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mmakers, te
eak momen
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men who feexperience to g
jo
on his noteboo
even when
hat create r
very aware
to write wh
solipsism an
notebook o
ything befo
when Joon
tic images,
dmires his
ges after re
an (2004) is
ing more in
ear as insati
f their own
lack or a d
meral salvati
g feel into a
p and fond
and unhapp
eachers, ac
nts of their
mpanied by
el that only wgo through th
sea‐sanche
ok before com
one does
reality and
or very con
hat for the
nd incomm
on the sma
re dying”,
ng‐rae exp
drawing on
imagination
ealizing tha
not only th
nternalized
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n body and
defect force
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a well (1996
of drinking
py in his m
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ith women cahat absolute k
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mitting suicide
it physically
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6): Hyo‐sub
g; Dong‐wo
arriage. Hy
artists with
al career o
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abysm of in
t to be swa
mportant to
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the hotel ro
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Moon‐sook
notebook i
h a stronge
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rative conce
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f woman’s
a search t
st opens wi
is an unsuc
oo, a seller
o‐sub is the
self‐esteem
r emotiona
y be strong
n absolute senctivity, be it o
n the beach: Joo
others. Isol
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o talk about
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oom, says t
ies: “Do I g
his theor
n which he
er determin
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s film, but a
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by a comp
body. The
that they t
ith the two
ccessful nov
alienated b
e first in a s
m problem
al life. In ea
ger, richer,
nse of connecone hour or a
9
ong‐rae
lation
cation
alism.
t. But
uicide
to his
go on
y on
e tries
nation
actual
also a
ce his
lex or
y are
try to
male
velist,
by his
series
ms, or
ach of
more
ction. I a year”
resig
Dong
Yang
them
build
and b
The i
don’t
diffe
But
pract
when
Even
preve
an a
6 The themsseparfilm smodereal: moviethemsalter t
gned or mo
g‐woo, prod
g, among ot
m to seek su
d out of frag
biography f
incomplete
t understan
rent ways:
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tice is conc
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re pragmat
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y seem to h
oy the pres
ype of cha
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jo
tic, but also
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are incom
comfort in w
ch of these
hers withou
affects the m
ning of a life
believe it is
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women ever
have everyt
sent. One c
aracter that
fragments doeach story rthe others in
rative model , being identicinfinite web e each movie identity that to transform w
sea‐sanche
o less talen
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plete chara
women but
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z.com
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acters, not
t, as the film
could borrow
ntly changin
day a pig fell inditor. Sentenced
e of cinema: Saof his family.
cters derive
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ble through
in an idea
eyond phys
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and art), t
ct that this
o leave the
the model dothe differenctuation. And n different waher. Models c, and these vcharacter’s b
mmunication rhem recogniza
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tor Chang w
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w a fragme
g the mode
nto the well: Hd by the judge.
ng‐won humilia
es from the
nce yet but t
art, they se
alistic mode
sical object
d recreate t
he obsessio
s obsession
e irresponsi
oes not imply ces, sometimthis is the reays, so each ccan be thoughvariations are behavior. Theuns in paralleable.
y women: t
wook or pa
use a lack im
ve itself, the
nt of perso
el.6
Hyo‐sub patron
ated by his mo
eir idealism;
they pursue
eek it in wo
e: when ar
t (or death
them as an
on with the
with the p
ible behavi
that the charmes minimal, levant aspectcharacter repht, but they a made visibleeir struggle toel to their eff
10
rader
ainter
mpels
ey are
nality
ized by
other in
; they
e it in
omen.
rtistic
) and
gels).
e past
past is
or of
racters which t: each peats a are not e from o make fort to
adole
riskin
Beca
many
many
Their
conc
even
for re
ideal
effec
passi
the b
Turnin
Fema
avoid
don’t
time
7 Theadolefundano mo
escence, di
ng an engag
ause of this
y of these
y cases the
r inability to
ceive as inc
n violently. A
elief. In the
lism and d
cts, it is we
ion. Hong c
bottom, ine
ng gate / Woma
ale characte
d loneliness
t stage thei
s of peacef
e pathologicascence and taments. In theore a bourgeo
sguised as
gement with
idealism, a
men becom
ey propitiat
o relativise
comprehens
Alcohol, om
e narrative l
issolve pai
ell known, a
combines al
vitably, som
an is the future
ers seem m
s, hard work
ir suffering
ulness, con
l condition ttheir incapace context of dois pathology,
jo
freedom, a
h his/her pr
nd in return
me pathetic
te it with t
their posit
sion or abu
mnipresent
evel, alcoho
n. Both alc
are limited
l these elem
me bitter se
of man / Wom
more aware
k or sufferin
and their e
versation o
that Bourdieuity to enter developed socbut a genera
sea‐sanche
and aspires
resent.7
n for freedo
c and are vi
their behav
tion or proj
use, and m
in all the fi
ol works sim
cohol and
in time. So
ments to re
ediment rem
man on the beac
of reality a
ng but, in o
effort; on th
or joy. Fema
u attributes “true life”) cieties, “social one (Bourdie
z.com
s to the re
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ects brings
makes them
lms, offers
milarly to h
humor are
omething si
ach a certa
mains.
ch / Like you kno
nd their lim
pposition to
he contrary
ale characte
to Flaubert chas become al adolescenceeu, 1992: 33‐3
wards of m
ognition tha
umiliation.
words or th
them a suf
behave ru
them an al
umor: it ser
e addictive,
imilar happ
in narrative
ow it all: alcoho
mits. This aw
o the male
y, they seem
ers are more
characters (thstructural in e” (or even “s35).
maturity wit
at they dem
It is true th
heir persist
ffering that
udely, crue
libi or an ex
rves to rela
, although
pens to love
e stability; b
ol is omniprese
wareness do
characters,
m ready to
e complete
heir persiste a society wsocial childho
11
thout
mand,
hat in
ence.
t they
lly or
xcuse
tivise
their
e and
but at
ent.
oesn’t
, they
value
e than
nce in without od”) is
the m
so de
and,
marr
Moo
in th
defin
profe
to th
chos
“we
valui
writi
aims
by Jo
after
Womasuk, sl
In fa
reaso
(deri
sum,
brea
In ot
posit
exit t
later
deat
tryin
male ones,
efining, bec
in many ca
ried or rela
n‐sook (Wo
hese cases,
ning an iden
essionally o
he Lee Hyon
en by Dong
actresses, a
ng her prof
ng of his sc
and she do
oong‐rae w
r she falls as
an on the beacheeping drunk in
act, women
ons, more b
ved from a
, rejected b
ks a vase th
ther cases,
tion before
than suicide
r cries as a
h. Bo‐kyeo
g to get oth
and therefo
cause they d
ses, they do
ated to mal
oman on th
their jobs
ntity as thei
outside the
ng‐su’s frien
g‐su; but wh
are normal
fessional m
cript is abo
oesn’t do it
who, as she
sleep before
h: Joong‐rae ann front of their
n are also
because of
ambition). S
by Sung‐na
hat belongs
it is not h
men. Two
e. In contras
child emb
ong prepare
her people i
jo
ore it is mo
don’t give t
on’t have a
e characte
he beach) an
s (actress,
r boyfriend
stage and b
nds meeting
hen she acce
women”. O
merits (in co
ove any rela
. As a conse
repeats lat
e the room’
nd Sun‐hee learoom’s door.
humiliated
men’s prep
So happens
m in a hot
s to the sam
humiliation,
of these w
st to Lee Hy
braced by D
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involved or
sea‐sanche
ore difficult
their jobs th
consolidate
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nd Sung ok
musician, t
s’ ones. Yeo
behind the c
g and perfo
epts to go t
On the oth
ntrast with
ationship); s
equence of
ter, “pass o
’s door whe
ave the room th
and abuse
potency (de
to Min Jae
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me Sung‐nam
but a hyp
women, Bo‐k
yong su, wh
Dong‐su an
th serenity
expecting a
z.com
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k (Hahaha)
tourist guid
ong‐sil plays
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orms her ka
to bed with
er hand, m
Joong‐rae’
she doesn’t
her honest
over her” to
ere they ma
hrough the net
ed in Hong
erived from
e who, in va
in Paris; a
m (although
perexhibitio
kyeong and
ho pushes h
d terrified
and execu
anybody to
e models. O
nce that me
y are too yo
eong‐sil (A
break this m
de) are not
s her role o
r example, w
araoke scen
him, she m
musician Mo
s obsession
t need to s
y, Moon‐so
ogether wit
ake love.
t room’s balcon
g’s films, b
insecurity)
ain, loves H
nd to Yu‐je
h this happ
n, in which
Min‐sum,
is character
by the imm
utes her ob
stop her.
Occupation i
en give to t
oung, or the
tale of cine
model but,
t so releva
of an actress
when she c
ne singing a
must remind
oon‐sook re
n, as for him
stage her ar
ook is humil
th his new
ny and look at
but for diff
) and frustr
Hyo‐sub; to
eong, when
ens in a dre
h they risk
don’t find
r to the void
minence of
bjective wit
12
is not
theirs
ey got
ema),
even
ant in
s very
omes
song
d him:
esigns
m the
rtistic
liated
lover
Moon‐
ferent
ration
Min‐
n she
eam).
their
other
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f real
thout
The da
Deat
In ot
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revel
by lit
to an
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Sex s
true
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frust
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8 “Sexconflinegot
ay a pig fell into
th is indicat
ther films c
h through n
stify and m
pen after lo
lation. Wha
ttle, to antic
n importan
al abstinen
ition, sexua
n‐transcend
far affects
on. Therefo
ses.
ay a pig fell into
scenes, on
place for
olves but do
tration, no
ments with
x scenes are cting. Sex is ntiated” (Kim, 2
o the well : Bo‐k
ed, but bar
characters
news or test
maintain the
osing consc
at most of r
cipate deat
nt part it a
nce or love
ality, rest, c
dental narra
others, the
ore, funeral
o the well : Bo‐k
the other
encounters
o not close t
r are heal
pleasure
explicit, rem
never an impa2004: 223).
jo
kyeong prepare
ely represe
disappear
timonies. D
e transcend
ciousness a
eligions pro
h: with the
nd accept
to inexiste
ommunicat
ative banish
e live ones,
s are avoid
kyeong dreams
hand, are s
s, the mom
the story, a
led from t
or patience
itting complicassioned affair
sea‐sanche
es her suicide.
ented. Only
before the
Death repres
dence’s bus
t the end
opose as a w
aim of gain
prohibition
ent beings
tion with ot
hes that rep
the only p
ded (except
her own funer
shown fron
ment when
as men expe
their obses
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z.com
in Hong’s fi
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of life, ope
way to exor
ning eterna
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ther people
presentatio
possible pro
t in dream
ral.
ntally, some
n tension b
ected: they
ssion. Fem
ing on eac
that are sepwo lovers, but
irst film cor
we only kn
have been u
of death, o
ens the fie
rcise that fe
l life, peopl
ons and sac
what is ne
e. It is unde
on. Death is
otagonists
s), as well
etimes hars
between m
never find
male charac
ch case. H
parately justifa site where
rpses are sh
now about
used by reli
or of what
ld of fanta
ear is to die
le have to r
crifices. Fa
ecessary fo
erstandable
s only impo
of the dra
as the sig
shly.8 This i
men and wo
comfort to
cters live t
ong shoots
fiable, but mupower is cons
13
hown.
their
gions
could
sy as
e little
resign
sting,
r life:
e that
ortant
matic
ght of
s the
omen
their
those
s sex
utually stantly
sequ
(alth
clum
The po
The i
nega
alley
dirty
in so
brok
happ
prete
bath
prefe
wash
of so
or ex
mean
suicid
The dabroken
uences with
ough inevit
msiness or ot
ower of Kangwo
idealism th
atively in a s
ys and occu
y sheets, so
ome charact
en condom
pens to dis
enders, 200
room with
ers to wash
h it by mach
ome charact
xistential ne
ns first to h
de by swallo
ay a pig fell intn comdon.
out orname
tably the s
thers’ exces
on province / A
at affects t
stigmatizati
ur in narrow
metimes w
ters. Hong p
m and must
scover his
00) takes a
an spray; h
the sheet
hine, as his
ters for ima
eeds sound
have a show
owing pills.
to the well: Don
jo
ents, as a si
pectator re
ssive expect
Tale of cinema
he characte
on of sexua
w hotel roo
ith traces o
plays with it
t go to an
betrayal), o
shower be
e gets later
himself in t
s inexpert lo
agining his s
ds ridiculous
wer and the
ng‐wu trying to
sea‐sanche
ilent observ
ecognizes h
tations).
a : the camera a
ers results p
ality. Many
oms, on ma
of semen. C
t, for examp
urology clin
or when Ja
efore going
r astonished
the hotel ba
over recom
sexual desir
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en to refrain
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z.com
ver who att
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positively in
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Cleaning ob
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mends. On
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touch in s
ess.
n a sublimat
ces have a
et on the fl
session see
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e analyses
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od spread b
ther than ta
the other
erious attra
ng‐sil to die
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washing himself
ody transac
some chara
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prologue in
oor, covere
ems patholo
ng‐woo see
(where his
ped bare by
g and scent
by the virgin
aking it hom
hand, the e
action, pure
e clean, and
efore comm
f after discover
14
ctions
acters
ire or
n dark
ed by
ogical
es the
s wife
y her
ts the
n and
me to
effort
e love
d this
itting
ring the
Wom
repre
seem
when
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all ar
who
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Tryin
teach
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two
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not m
her f
again
“You
hosp
A tale
men can’t e
esentations
m more rec
n they go to
ivity is then
re strong w
considers h
bing X‐carto
relationship
ering implie
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ng to be ho
hers), used
not resist th
els: therefo
ng‐sil rejects
separate be
ting, when
you look lik
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er together
marked by s
friend in the
n, on the w
u have enjoy
pital and fac
of cinema : Do
escape the
s and behav
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o bed with
n revealed a
women: you
her inferior
oons); Moon
p and takes
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onest, wome
d sometime
hem. Now, t
re Yu‐jeong
s Dong‐su, u
efore the st
the actress
ke an angel
’t see the st
r, drunk tog
scars (as his
e hospital.
woman, wh
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ces his frien
ng‐su meets Ye
jo
traps of id
viors, altho
th their ow
their partn
as a waiver
ung Min Jae
r (she work
n‐sook choo
the decisio
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erself to clo
en don’t ac
es to justify
they do pre
g gives her
unable to o
tatue of an
comes from
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tatue in this
gether, and
s friends to
Only then t
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ugh!” She ta
d’s death.
eong‐sil under t
sea‐sanche
dealism, be
ough they a
wn bodies a
ners they lo
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oses betwe
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m, 2010) say
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y their dec
efer men th
rself to Sun
occupy the p
angel situa
m visiting th
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the camera
with Dong‐
akes a taxi a
the statue of th
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battles or u
the last nov
voice, wak
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place of ago
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ause of the
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focuses on
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deeply ins
tidious and
ality. Appa
atural and l
nnecessary
vel manusc
ing up peo
n, she strug
he measures
word by fi
s overlappin
ncerity of ar
pocrisy. Ho
em as wom
oon‐sook to
onizing Lee
hospital do
, Dong‐su te
e statue of
what later, a
discovered t
eft very ear
n the stone
s still follow
ears. He ent
hospital’s entra
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d obsessive
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ript by Hyo
ple by pho
ggles to pre
s the amou
ilming her
ng perspec
rtists (write
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men and no
o Joong‐rae
Hyong su. T
oor. In thei
ells her: “Ye
the angel”
after they’ve
that her bo
rly, again, to
angel, and
wing her, s
ters finally i
ance.
15
social
, and
sives,
tious.
lmost
o‐sub,
ne or
serve
unt of
short
ctives.
ers or
omen
ot like
e and
These
r first
eong‐
”, she
e had
ody is
o visit
then
naps:
n the
Deat
least
alrea
And t
If dea
and
prop
cond
all ev
the e
peop
be ac
of he
funct
perm
beca
them
trans
isolat
the d
learn
of co
An In
sexu
but r
turni
or al
often
the o
rape
find
betw
Most
a com
th is not the
t this comes
ady dead, o
the man mu
ath and its
persistence
phets and c
demn wome
vil that hum
embodimen
ple into sin.
ccepted as
er body. C
tion. Chara
manently fa
use their ad
m, is only po
scendental
tion and so
differences,
n from the p
ommunion w
n‐transcend
al, intellect
rather node
ing to trans
ways be as
n run in par
opposite is
s. Common
by themse
ween the ch
t of the nar
mplex temp
e end. The
s out from H
or rather it
ust decide.
representat
e, women
church offic
en, their bo
man beings
nt of evil; t
It is, there
a virgin or a
elebration
acters are
lling in lov
ddiction to
ossible thro
desire, a w
olipsism. Sex
, but that m
perspective
with other p
dental narr
tual and em
es of hyperc
scendence. A
ssociated to
rallel. Actua
shown: pa
nly the chara
lves, in a p
aracters ar
rrative task
porality show
jo
end is lone
Hong’s narr
was never
tions are th
and their
cials: volunt
odies and th
suffer. As s
the mere s
fore, prefer
as an angel
of women
exposed t
e. Sometim
alcohol. Bu
ugh sex. In‐
will of pleas
xual love op
makes them
of the othe
people mak
rative space
motional rel
connectivity
Although se
o love, nor
ally, in Hong
aid sex, fru
acter arrive
process of k
ise from the
of Hong’s w
wn as a con
sea‐sanche
eliness. But
ative propo
alive, or it
he leading p
acts have
tarily const
heir desires
stated in th
sight of he
rable to hid
, that is, de
in Hong’s
o be moc
mes they ad
t what they
‐transcende
sure and vit
pens a com
productive
er, alterity s
kes transcen
e is that o
lations. The
y that contr
ex by itself
even is po
g’s films th
ustrated sex
es to sex as
knowledge
e different
work is to c
ntinuous pre
z.com
t the end is
osal. The an
never exist
proponents
always be
rained to t
s, and repre
he Bible, wo
r body, or
de her, to a
eprived of h
film perfo
ked as wo
dd to this c
y seek is a k
ental thoug
tality, but a
mmunication
e. For a limi
softens the
ndence unn
ne created
e moments
ibute to ma
cannot, obv
ssible to m
ey rarely m
x, casual se
a moment
or recogni
times each
construct an
esent.
s not such i
gel remains
ted. The wo
of religion i
een the gr
he purity o
esent them
oman is a d
even parts
void her. W
her sexuality
rms an ant
omanizers o
condition a
kind of conn
ht is accom
also an effo
n space that
ted time, lo
edges, and
ecessary.
by people
of sex are
aintain the n
viously, ens
match love a
match, and i
ex, allowed
of fiction th
tion. Conne
one experi
nd articulat
important.
s, because i
oman move
in its funda
reat enemi
of celibacy,
as the orig
devil’s ally, s
s of it, can
Woman may
y, deprived
titranscend
or ridiculed
bad reput
nectivity tha
mpanied by a
ort to over
t does not
overs are ab
d the satisfa
e in their s
not black h
network wit
sure connec
and desire,
in some of
d rape or a
hat they bu
ection prob
ment or inh
te those tim
16
Or at
t was
es on.
ment
es of
they
gin of
she is
take
y only
even
dental
d for
tation
at, for
an In‐
come
erase
ble to
action
social,
holes,
thout
ctivity
both
them
actual
uild or
blems
habit.
mes in
Prese
conc
chro
expe
hope
weak
spec
ecolo
The po
Liber
oppo
prese
indiv
socia
diffe
happ
mem
The m
here
happ
desti
only
9 Kyuchara
ent is the
cerns of extr
nological f
erience, res
e of happin
kening of o
ies, and soc
ogical syste
ower of Kangwo
ration of m
ortunity but
ent with n
vidual and o
al network.
rent stories
pened yet o
mories and d
most obvio
in their bo
pened or ha
iny that of
role is to a
ng Hyun Kimcters and the
time of In
ra‐individua
future. Indi
ulting in a
ness or imm
our individu
cially to on
m, and mai
on province: mi
metaphysica
t in the form
ostalgia or
on the nar
Hong’s fra
s, the searc
or once it is
desires cros
us conditio
odies and t
as yet to occ
those char
ccompany t
m has writtenmatic motifs i
jo
n‐transcend
al pasts that
ifference t
lightening
manent we
uality; we m
e or severa
ntaining its
ismatch (1st par
l temporali
m of a pres
pragmatis
rative built
gmented n
h for a perf
s already pa
sing each o
n of this im
thoughts, b
cur. There a
racters (ma
the one wh
n on the impin Hong’s mov
sea‐sanche
dence: the
t can burde
o past an
of respons
ell‐being. In
must acknow
al networks
s equilibrium
rt) and match (
ity (and ete
sent full of
m, with an
t together w
narrative is
fect presen
ast. In its im
other, as a ti
perfect pre
but only in
are lonely w
rried male
ho waits! Th
portance of tvies: Kim, 200
z.com
“here and
en us, and w
d future i
sibility that
n compensa
wledge tha
s. That is, t
m is our ent
2nd part).
ernity persp
memory an
nguish or p
with their c
also a resu
nt which is o
mperfection
ime of coin
esent is that
terms of s
waits and wa
friends, sin
hey wait a jo
these scenes 04 a: 203‐207.
now”, livi
without wor
s also tran
increases
ation we m
t we natur
hat we are
ire respons
pective) op
nd anticipat
pleasure, de
current par
ult of that s
only visible
, present a
cidences an
t of waiting.
omething t
aits in comp
ngle female
ob opportu
of waiting in
ing withou
rries of an e
nsferred to
the chance
must accep
rally belong
members
sibility.
pens the tim
tion. To live
epends on
rtners in hi
search to m
when it ha
ppears as f
nd mismatc
.9 Character
that has alr
pany: what
e friends) w
nity, inspira
n the definit
17
t the
extra‐
o life
e and
t the
g to a
of an
me of
e this
each
s/her
match
as not
full of
hes.
rs are
ready
a sad
whose
ation,
tion of
love,
a sus
The po
Daily
the t
not l
asks
“Wh
impo
clinc
impo
atten
way
dram
will s
her a
10 Thicharacosmolandsccomenarratthe doccur11 “J’eépisodbanalsymboensuitjuste inclur
, change or,
spended da
ower of Kangwo
y life depict
time of lost
eveled in t
one of the
at is most
ortant”, say
hes directo
ortant!” said
ntion. Indee
small actio
matic or trag
she remind
alone and d
is is filmed bcter’s dead tological perspcapes, peoples out of a timtive ellipsis waily flow. In a in a fictional
entends par làde de notre e, a toujours oles et de sete un bloc, unune seule idre toutes ces s
, in some pa
ily life.10
on province: ch
ted by Hong
or expecte
heir insignif
students t
important
ys the mas
or Ku realiz
d Gog to h
ed, small a
ons (some t
gic fate, as t
Ku at the e
rank in the
y Hong very imes, but thepective is appe and objects meless vision twork to hide wa way, Ozu’s past that is al
à mon désir dvie, contientla possibilité ens qui s’emne structure, qée ! Or, en esurfaces dans
jo
athological
aracters wait m
g is not nor
ed opportun
ficance but
o director K
?” insists a
ster, but a
ing he is b
im at the b
nd seeming
imes involu
the rape of
end of the f
bathroom o
differently toey rather deplied leveling awere for othethat covers thwhat the viewefilms take plaways present
e montrer qut tout à l’intéde contenir pilent commqui donne unmployant desmes films » (H
sea‐sanche
cases, deat
more than act.
rmal but ex
nity. Hence
t in their sig
Ku in Like y
another stu
bove all “s
being quest
beginning o
gly irreleva
untary or no
Gong by di
first part, th
of his collea
o Ozu. The fipict their whoactions and paer reason). Thhe film with aer would like ace in a fictiot.
ue chaque choérieur. Quelqplus. Un petite des couchee impression s narrations Hong, en Gom
z.com
th. And wait
xceptional;
, in his mov
gnificance.
you know it
udent to m
sincerity”.
tioned in h
of the film b
nt details b
ot complete
rector Kim (
hrowing in h
ague’s room
ilms of the Jaole lives as ocassions (in thehe impermanea gentle melanto see, but h
onal present t
ose, chaque évque chose det épisode de es, des surfad’entité. Maiplus conventimbeaud, 2003
t opens a de
it is always
vies people
“What is m
all. “Freed
master Yang
“Everything
is authority
but he did
build narrat
ely conscio
(“Everythin
his face to h
m).11
apanese mastccurring in a e same way nence of humancholy (Ishagpe cannot becahat is already
vénement, mtrès concretvie peut cachces superposs cette entitéionnelles, je n: 35).
ead time, th
s conditione
and object
most import
dom”, he re
g: “Everythi
g is import
y. “Everyth
not pay en
tive in the
us) may str
g is importa
have aband
ter rarely focsuspended t
natural and arn beings and pour, 1994: 9ause it wouldy past. Hong’
ême les plus t, d’apparencher un ensemsées. Elles foé ne contient n’ai jamais ré
18
hat is,
ed by
ts are
ant?”
eplies.
ing is
tant!”
ing is
nough
same
ring a
ant!”,
doned
cus on ime: a rtificial things
9). And break s ones
infime ce très ble de orment jamais éussi à
Like yo
Every
throu
in th
make
but a
cons
one
alwa
temp
diffe
that
such
happ
itera
fictio
nega
all so
every
actio
Prese
what
perm
takes
visib
chain
diffe
the f
this i
nega
ou know it all: “
ything is im
ugh the sam
he same wa
es them evi
also the ba
tructed. Ac
self‐visible
ys the exp
poralities th
rent charac
reduce to t
a way tha
pen sponta
tion of the
onal layers
ated to delib
ort of seque
ything that
ons or exper
ent is the s
t everyone
manent neg
s place. Th
le in differe
n of presen
rences: is n
finding of d
is not entire
ation of the
“What is import
mportant and
me places at
ays and not
ident in her
asis of a co
tion is reve
does not g
pected con
hat Hong sh
cters in the
the minimu
t coinciden
neously. H
e present.
are (drea
berately pro
ences to sh
socially ma
riences.
sum of wha
feels, thin
gotiation w
is present
ent resonan
nts always
not the suc
ifferences.
ely true, be
e dispositif,
jo
tant” “Freedom
d everythin
t the same
t all remem
r film, const
ontinuous
aled then a
guarantee to
nsequences
hows using r
e same chro
um a possib
nces (almos
Hong’s per
Past and p
ms, visions
oduce confu
ow them a
atters, and
at every ch
nks, imagin
ith the soc
may be so
nt layers, th
in course,
ccession of
It might se
ecause only
we could a
sea‐sanche
m”? “Sincerity”?
ng is availab
time, not a
mber the sa
titute the ba
motion up
as a delayed
o be seen,
. Dramatic
repetition a
onological t
ble simultan
st impossib
rspectivism
present are
s, cinema
usion but th
s part of th
dreams or
haracter ha
nes and de
cial and phy
o complex t
hat is, fragm
the specta
seconds or
eem that on
leaving the
actually spa
z.com
? “Everything is
le for every
ll stop at th
ame details
asis for the
on which b
d reaction o
nor does t
conflict is
and overlap
time but w
neity; or by
le in a prob
is not a r
e leveled i
inside cine
he same tre
he same rea
films can b
s seen, tho
esires but
ysical space
that needs
mented an
ator visualiz
r moments
nce again it
e cinematog
atialize actio
s important!”.
yone but no
he same thin
. These diff
cinematogr
biographica
or constant
he action u
s replaced
p of fragmen
ith differen
y cutting sp
babilistic ac
return to t
n the sam
ema): diffe
eatment is,
ality. Reality
be so effect
ought, drea
it is also
es in which
to be scan
d spatialize
zes a temp
what cons
is about sp
graphic mac
on; only by
ot everyone
ngs, not all
fferences, a
raphic narr
al narrative
search. To
undertaken
by a gam
nts: by follo
nt tempora
pace and tim
ccount) see
the past bu
e way diff
erences are
indeed, giv
y is made o
tive as eve
amed, lived
the result
h each situ
nned and m
ed. Faced to
porality bas
stitutes tim
patialization
chine, thro
y stopping i
19
e goes
react
as Oki
ative,
s are
make
have
me of
owing
l cuts
me in
em to
ut an
erent
e not
ven to
out of
ryday
, and
of a
uation
made
o this
ed in
e but
n, but
ugh a
t and
over
to its
is pr
resig
in th
confr
The w
the p
only
comp
writt
mem
share
writi
Hong
creat
prev
estab
view
are p
laying diffe
s display as
recisely to
gning to rep
e experienc
ronted to th
writing met
present. As
works with
pletion of e
ten by him
morize the l
ed with the
ng, under t
g’s narrativ
ted through
ious plan.
blishes an a
wer, or, in th
particular an
rent mome
past, to th
emphasize
present its c
ce of durati
he duration
thod practic
s he has ex
h a very bas
each scene t
every morn
ines. Beside
e crew ine
the pressur
ve: a certai
h details an
It also exp
absolute pr
he realm of
nd fallible.
jo
ents or actio
e conversio
the ephem
complexity.
on, no mat
n’s disruptio
ced by Hon
xplained on
ic idea of th
takes place
ning before
es that, the
vitably affe
re of a prod
in closure
d not throu
plains the
resent. Pas
f fiction, in
sea‐sanche
ons, in a wa
on of fiction
meral and
Understand
tter how the
on of the act
ng‐Sang‐soo
n many occ
he plot and
during the
shooting e
e materialit
ects the co
duction pla
of each se
ugh a drama
relativity o
st only exis
the charact
z.com
ay that avoi
n into docum
elusive con
ding of com
e spectator
tion represe
o is consiste
asions, for
the work p
filming pro
each scene.
ty of the loc
nstruction
an, also exp
equence on
atic develop
of tempora
ts in the m
ter’s memo
ids the pres
ment. The d
ndition of p
mplexity tak
’s experien
ented in the
ent with his
the film pr
plan (Huh 20
ocess, and th
Actors bare
cations and
of the ficti
plains the fr
n itself, and
pment that
al chaining:
memory of
ory. But all t
sent, would
director’s c
present wit
kes place in
ce of durat
e film.
commitme
reproductio
007: 42‐42)
he dialogue
ely have tim
d the exper
ion. This u
ragmentati
d how link
would requ
: writing a
the author
those mem
20
d lead
hoice
thout
time,
ion is
ent to
on he
). The
es are
me to
rience
rgent
on of
s are
uire a
lways
r, the
mories
Virgin same s
The
regai
work
narra
repre
towa
simil
be ex
one
inter
prem
repre
gene
an a
exist
built
addit
pote
chap
by c
witho
in a m
direc
Some
reme
reme
forgo
met
simil
not i
way
stripped bare scene in the sec
difference
ined life, co
k that, for
ative in tim
esentations
ards the pr
ar to an ext
xperienced
individual
rsubjetivity.
mises are in
esented, an
erate an “im
lternative t
ence, and
on the fall
tion to mult
ntial narrat
pters, tempo
hance). Ho
out reducin
memory ga
ctor (given h
etimes, dive
embers eat
ember at a
otten; Kyun
Sun Young,
ar moveme
mply comin
that future
by her bachelocond part.
between
onstitutes o
its monum
mes of its d
s in times o
resent, the
tra‐tempora
. However,
alone ma
Unlike Pro
ntersubjetiv
nd is only s
mmanent tr
to transcen
by showing
ibility and s
tiple possib
tives that c
orary rules
ong faces t
ng them in s
me similar
his writing m
erging mem
ing steaks a
all). Or so
ng‐soo tries
, the woma
ents to thos
ng back: we
may repea
jo
ors. Jae‐hun me
experience
one of the
mentality a
dissolution,
f its imposs
narrator a
ality and, th
what matte
atch, but
oust, Hong i
ity and irre
significant i
ranscenden
ndence ma
g the async
selectivity o
ilities of seq
can also be
within each
he spectato
synchroniza
to that play
method).
mories could
at his friend
relevant th
to remem
n he now o
se now don
e could rath
t both.
sea‐sanche
eets Su‐jung a
e and mem
narrative m
and the au
is very clo
sibility). Ret
achieves a
hen, to a dim
ers in Hong
how the
is committe
eversibility.
if affects th
nce” (Ricoeu
nifested in
chrony of sh
of memory
quencing th
e structured
h chapter),
or to a ran
ation: there
yed by the c
d be appar
d’s place (s
hat its incr
ber someth
obsessively d
ne after her
er consider
z.com
nd she gives h
mory, betw
main lines o
thor’s amb
ose to Céza
trieving the
tight and r
mension in
g’s work is n
imprecision
ed to a tem
Past only
he present.
ur, 1984: 53
the recog
hared expe
: the multip
he time of a
d according
and to diff
nge of diff
e is no othe
characters t
ently irrele
something n
redible that
hing so imp
desires, fifte
r. What is c
r that past r
im the gloves.
ween exper
of In search
bition to m
anne effort
e past time
resonant te
which trans
not how life
n of mem
mporary con
exists as m
Time circu
34), it rathe
nition of o
eriences. Vir
plication of
ction, resul
g to differe
ferent princ
ferences to
r choice tha
themselves,
vant or ane
neither he
t one of th
portant as t
een years a
rucial is tha
repeats pres
Up: first part.
rienced life
h of lost tim
maintain th
ts to ensure
and progre
emporality,
scendence
e and memo
mories lead
nstruction w
memory, is n
ulation doe
er makes v
other’s tem
rgin… is en
perspectiv
lts in a myri
ent forms (p
ciples (by n
o be discov
an to partic
, and also b
ecdotic: Do
nor his wif
he partners
the first tim
ago, when h
at memory
sent in the
21
Down:
e and
me (a
e big
e the
essing
very
could
ory of
ds to
whose
never
s not
visible
mporal
ntirely
es, in
iad of
parts,
eed /
vered,
cipate
by the
ng‐su
e can
s has
me he
he did
does
same
Tale oopticiathe pr
Repe
peop
indiv
and
beca
perso
posit
Whe
alien
the p
that
of th
know
The w
main
the m
or ev
mod
explo
narra
myst
intel
12 Davrefer t
of cinema: Sanan’s assistant. /evious scene w
etition may
ple. Actually
viduals: they
if they are
use their p
on. People
tion. Can w
n recognizi
nation or tra
practice of
constitute a
his excess in
wledge free
way of In‐tr
ntaining his
mission ass
ven as hum
el of art. B
oration in a
ative on th
tery that on
ligence no
vid Scott Diffto those ever
ng‐won makes / Dong‐su repewas shot.
y affect the
y, the dive
y remembe
e now able
osition has
change in t
we underst
ng this pos
agic sacrific
humility. O
and inhabit
n the other
d from idea
ranscenden
integrity in
igned in mo
miliation, if
But can als
a society th
he divergen
nly he could
ot only sup
frient proposeyday moment
jo
an appointmeeats the same s
e experienc
rgence of m
er different
to recogni
changed. C
he same wa
and then t
ssibility, the
e. And one
Only a humb
t him, but a
s what ope
als and pass
ce not only
n relation to
odernity. Th
it is consi
so be rega
hat renoun
nces betwe
access and
ppresses th
es the term “ts burden with
sea‐sanche
ent with Yeonscene after foll
ce of an in
memories i
things bec
ize what in
Changing po
ay that diffe
that people
e old individ
of the few
ble individu
lso of those
ens the way
sion freed fr
y liberates th
o the societ
his liberatio
idered from
arded as th
ces myster
een memor
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anscendence”vance or signi
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aware of pe
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transcende
nts.12
al from the
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gant perspe
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erspectives,
direction. In
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ng her by chathe same optic
lso affect
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hey didn’t s
the identity
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lemma bet
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eople and t
s the explor
nce; that o
responsibil
so frees art
as degrada
ective of a
field of fo
f building u
, and not
n‐transcend
o questions
it from Bergsient, 2008: 98
22
ance as where
other
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tions,
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same
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ween
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times
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Wha
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But w
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At th
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One
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ibility of lite
scendental
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ything? Wh
anscendent
what Hong
esentation
did not wa
ative as an
and her film
by her fello
Film: Jingu interpan movement
he end of th
audience, a
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ifically abo
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ionship. He
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ionships. Yo
rather as a
rvention of
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erature and
attitude. M
of pockets o
if every m
hat kind of
tal narrative
offers is, a
of the final
ant to resign
artistic for
m seems m
ow student
rrogated by an ts and zoom.
he first of th
after the sc
a young wo
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him during
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that his fil
oung direct
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Most of mod
of mystery
mystery is e
artistic pro
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ore suited t
Jingu.
audience mem
he four sect
creening of
oman sitting
feels after
g the talk,
oid the que
with perso
ms are ab
tor’s angry
ush that do
man saves t
perate atte
sea‐sanche
dered as su
dern literary
in the cons
eradicated,
oduction is
es one of t
e time, an
transcenden
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er, his char
to contemp
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tions of Oki’
his last fea
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estion, argu
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z.com
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the possible
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personal life. Th
’s film, direc
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t row, asks
pt with the
e caused t
uing that art
nd ethical
life and a
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p that smal
f religion, th
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of contemp
and think
this new si
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against itse
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tradict him:
rience than
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ctor Jingu s
ready for s
him about
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the break
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about mor
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e, neither h
ector’s refu
l share of m
hus preserv
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porary soci
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ituation? H
to this ques
endence an
lf. Like Céza
oes Hong to
: Oki contra
n to learning
onsist in just on
stands in fro
some quest
his persona
ress, who st
of her fo
ce and aest
ut the spec
rality in hu
cing explana
himself. Onl
sal to answ
mystery to w
23
ving a
ed on
eties.
xplain
ong's
stion.
d the
anne,
o film
adicts
g film
ne shot,
ont of
tions.
al life,
tands
ormer
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ctator
uman
ation,
ly the
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Augésurm
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emporary a
iving some
ain what is
dom and his
film: Oki takes h
ke Jingu, Ok
rs her rela
cted in the
oyment of
mpatibility
decision.
istence of
umentalizat
m that serve
ted by Hon
cs. And yet,
e at this sta
rt in the tim
é 1992. Mmodernité, S
rdieu 1992.raire, Seuil,esis y estruc
son 1975. Rm the Spanis
artist does
critics and
s not unde
s authority.
her two lovers t
ki makes a c
ationship w
e first thre
parallel si
of different
Her propo
opposites,
tion of life
es to unde
ng, the form
, when Oki’
age an art n
me of In‐tran
Marc Augéeuil, Paris,
. Piere Bou Paris, 199ctura del cam
Robert Bressh translatio
jo
n’t want to
d reply: “th
erstood, be
Also his ign
to the same pla
crystalline f
with two m
ee sections
tuations, c
t personalit
sal is a po
and inter
in benefit o
erstand life
ms of both
’s film finish
not useful f
nscendence
é, Non‐lieu1992.
urdieu, Les 92. Quoted mpo literar
sson, Notes on: Notas so
sea‐sanche
o renounce
hey don’t u
ecause in t
norance, his
ace. With the yo
film in orde
men whose
s of the fil
contradictor
ties and tem
orous narra
rested in t
of the form
. Obviously
films have
hes, a ques
for life? Or:
e?
Versió
ux. Introdu
Règles de from the rio, Anagram
sur le cinémobre el cinem
z.com
e; he can
understand
that silenc
s ignorance
ounger, she clim
r to unders
perspectiv
m. Oki’s v
ry but pos
mporalities
ative, open
translations
, Oki respo
y, both Jing
been decid
stion strong
is to be us
Univ
ón inglesa r
uction à u
l'art. GenèSpanish ed
ma, Barcelo
matographmatógrafo,
always app
me”, and
e, suppose
of himself.
mbs higher.
stand herse
ves, someh
oiceover ac
sible, and
both her b
n to simult
. To an ar
nds with th
gu and Oki
ded by him
gly resonate
eful for life
ersity of Ca
evisada por
une anthro
èse et strucdition: Las na, 1995.
e, GallimardÁrdora Ed.
peal to it w
refuses the
edly, reside
.
lf and expla
how, have
ccompanie
justifies, in
behavior an
taneities, to
rt conceive
he invention
i are chara
m, as well a
es: does it
e the only c
José A. Sán
astilla‐La Ma
r Jennifer M
opologie d
cture du chreglas del
d, 1975. Qu., Madrid, 2
24
when
en to
es his
ain to
been
s the
n the
d her
o the
ed as
n of a
acters
as the
make
hoice
nchez
artea
ancha
McColl
de la
hamp arte.
uoted 002.
ChunRemFractSearcNew
Gomsimp
Hong
Huh,
IshagLiège
Kim, Sang2004
Kim. Julian
RicoefictioXXI, M
Scottfell in
This Share
ng and Scoember, Remtured Filmsching. CultuYork Press,
mbeaud 200ple finit touj
g, 2007: Ho
2007: Huh
gpour, 1994e, Ed. Yellow
2004: Kyung‐su’s Films”4, pp. 203‐2
2007: Kyun Stringer (e
eur, 1984: Pon, Le Seuil,México‐Ma
t, 2008: Davnto a well”,
work is eAlike 3.0 U
tt, 2007: Hmemberings of Lee Chaure and ide, 2007, pp.
3: Adrien Gours par ap
ng Sangsoo
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4: Youssef Iw Now, 199
ng Hyun Kim”, en The r30.
ng Hyun Keds.), New
Paul Ricoeu, 1984. Quodrid, 1998.
vid Scott Di en Postcrip
licensed Unported Li
jo
Hye Seung g to Forget:ang‐dong aentity in co115‐140.
Gombeaud, pparaître”, e
o and Huh M
g, Hong San
Ishagpour, 4.
m, “Too Earremasculinz
im, “The awKorean Cine
ur, Temps eoted from t
ffrient, “Drpt, v 27 nº 3
under a Crcense.onCo
sea‐sanche
Chung and: The Politiand Hong Sontemporar
“Entretien en Positif: R
Moonyung, “
gsoo, KOFIC
Formes d’im
rly/Too Latezaton of Ko
wkward traema, Edinb
et récit. Tomthe spanish
ift and dura3, summer 2
reative Coommercial‐S
z.com
David Scoics of Memang‐soo”, iry Korean C
avec Hong Revue de cin
“Interview”
C, 2007.
mpermanen
e: Temporaorean Cinem
aveller in Turg Univers
me II: La cotranslation
ation in Hon2008, pp. 82
ommons AShareAlike 3
ott Diffrientmory and Mn Frances GCinema, Sta
Sang‐soo ‐nema, 505: 3
, in Huh, 20
nce: l’style d
lity and Rema, Duke U
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nfiguration n: Tiempo y
ng Sang‐soo2‐99.
ttribution‐N3.0 Unporte
t, “ForgettiModernity inGateward. ate Univers
‐ Une forme33‐37.
007, pp. 41‐
de Yasujiro
petition in University P
te, en Chi‐Y007, 170‐17
dans le récy narración,
o’s The day
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ng to n the Seoul ity of
e très
‐106.
o Ozu,
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Yun y 79.
cit de Siglo
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