Oculus 1

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oculus
Volume 01: Issue 01: January 2019

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Interview 003
w/ Makoto Shinkai. 008
012
The Films 014
(Lee Chang Dong)

A Film Review
Baraka.

The Disposible
Film Festival.

001

002

Makoto Shinkai:
‘You can’t be Miyazaki,
you can only be the second Miyazaki’

Meet the Japanese director behind
the anime smash hit Your Name.

Michael Leader

003

004

Your Name has so many aspects to it – coming of age,
romance, sci-fi, natural disasters – what was the
creative starting point for you?
Many of your films have that mixture of high concepts
and emotional storytelling. What first inspired you to
tell these sorts of stories?
Have those motivations changed over the last 10 years?

If Haruki Murakami influenced you as a storyteller, who
influenced you as an animator?
That’s interesting, because in the English-speaking world at
least, you’ve been touted as ‘the new Miyazaki’ for the best
part of a decade, in many reviews and on posters and DVD
covers. Is that search for the ‘new Miyazaki’ part of the
ldiscourse in Japan, too?

It surprises me and puzzles me when your films are com-
pared to his. For one thing, in many of Miyazaki’s movies,
his point of view is almost paternalistic, whereas yours is
on a similar emotional level to your young protagonists.?

005

006

I wanted to make a boy meets girl film, but I didn’t
want the meeting to come at the beginning of the film, I
wanted it to come at the end. The focus of the audience
has to be on this boy and girl, and we want the audience
to love them. The sci-fi and fantasy elements are there to

strengthen those emotions.

My first influences were Japanese contemporary
authors, including Haruki Murakami, because they
describe everyday life, and they accept life as it is.
So I wanted to do something like that in animation.
I’ve now been doing this for 10 years, so I think I’ve
become more professional. Nowadays, I don’t really
think in terms of influences, I only think about my

motivations, my emotions.

My motivation is different from one movie to
another. With Your Name, I’ve changed and society has

changed, so my motivation is different with this film.
The reason for the change is the earthquake in 2011. That
really changed my perception of the world. There’s a line
in the film – ‘you never know, Tokyo might go tomorrow’

– and I think everyone in Japan is aware of that. That
can happen, and it has happened. You can lose that
everyday, normal life.
So I wanted to create a story of recovery. You can’t

change the past in real life, but you can change the past
in a movie. Your Name has been compared to Shin

Godzilla, the new Godzilla movie, because it’s about the
Fukushima nuclear plant. It’s been five years since the

earthquake, and I think many creators finally know how
to deal with the disaster, and we can now create movies,

books, whatever about it. It’s just taken us five years to
be able to do that.

In the Japanese animation industry there’s a big
ideal, and that’s Hayao Miyazaki. He’s someone you look

up to and are influenced by. He’s got his own, totally
original style. He’s a genius. But… you can’t be Miyaza-
ki, you can only be the second Miyazaki, and that isn’t

something to aim for.

In Japan, people in the animation industry, or
anime fans, don’t really use that term. But people who

don’t normally see animated films – including the
media – tend to use it. It’s inevitable, because Miyazaki

is so famous.
And he’s a huge influence. He and his team
basically established the whole system. They created
what Japanese anime is now. It’s impossible not to be
influenced by him. I saw Laputa [Castle In The Sky]
when I was in Junior High School. That was the first
movie I went to see with my pocket money, that I paid
for myself – and it was great. There was nothing like it.
It’s not like I want to make movies like his movies, but I
want to achieve what he achieved emotionally for lots of

people, including myself.

I agree, he’s like a father, a teacher, a headmaster…
He talks about ethics, and he’s got this idea about how
people should live, or what they should live by. He’s an

authoritarian figure, if you like. I don’t know if that’s
a generation thing or a personal thing, but I can’t tell
teenagers what they should do, or how to live their lives.
Because I remember those emotions I had when I was a
teenager – I remember failure, I remember how great it
was to talk with a girl I had a crush on – and I still have

them. So our messages are very different.

007

Koreannew- yaroused. Hismoviesportray- toinA(drianLyne19,87K,)o- etywtihoutmaking- Kdi1(99w4,)hcihcrtciziedthe- ewmovementap- eYoungCrtics’Awarda-t sActin1986liberalizingfor- ateforthenewera. toina,ndin1990h,erecevie- movementoftheKore-
wavetheresistance- Someofthemostfa- heavysocainlatureinpci- reas’firstdirectyldsitrbiutedfilm. anycompromises. psychoolgciaelfectsofHo-l pearedintheKoreanfi-l the42ndLocarnoInter- eignfilmimports- InthehistoryofKorean- datentionforhisfilmre- aninteelctuasloceityfoolw-
movementarosein- mousdirectorsofthis- turesqueMsieenscene. Rigorouscensorshi- In“ChilsuandMan- ylwoodfilmsonKore- mindustry. nationalFilmFestival) madetipossbielforforegin- fiml sth,eyarecaeldtheKo- gardingCommu- ingtheJuneDemoc-
June1987. generationinclude- Hepreferredcinema- pandabsurdfilmpol-i su”h,econnectedthet- ddintre’ceviemuchinter- Anewgenera- Hedirectedfilmssu- companeistoconduc-t reanNewWave. nsitswhowerepartsian- racyMovemen-
Thepeoplerebeled- ParkKwangsu- tciinterventoinintoreatilyfro- ceisnearyldestroyedthe- wocharacterstra’gcifam-i esbt,uthisrecentfilmsU,n- toinseekingtorecreatether- chasBlackRepub- thefiml businessinKorea. ParkKwangsudur- sinSouthKoreadur- tin8‘7andgrewpowerfu.l
againsthemtailrydcitator- JangSun- maprogressiveposi- foundatoinofthefilmin- ylhsitorywtihKoreanhsi- bowed2(01w1,)hichcrit- elationshipbetween- cil1(990w, inneroftheJudg- Thsiactoinmeantfilm- ingthe1990shadbeeno- ingtheKoreanWaNr, or-t TheJuneDemocra-
shpithathadcontinued- wooC,hungJiyoun- tionb,utlaterm, oved- dustryduringthemtailry- toryandexpandedthe- cizedtheKoreanujdciia-l filmsandsoceitybyutilz- eAs’wardathe12thFest-i companiesinHoly- fapreservatvieforKorean- hKoreanPartisanin- cyMovementandre-
for26yearssince1961and- gandLeeMyungse. towardsamorein- dcitatorshpis,othepeopelin- domainof- systema,ndNatoinaSle- ingtheexpansion- valoftheThreeConti- woodcoudldistribute- filmsandthealbeolfanin. SouthKorea. ssitanceagainstdirectdsitr-i
wonthemsevlesasys- Theytreidtoreinterprethe- depthperspectiveon- theKoreanfilmindus- Chungmuro. curity(2012w), hichex- ofmateraislandtopcissin- nentBs,)erilnRepor1t(99T1,o)th- filmsdirectylinKoreaan- Intermsofstyleh, e- Afterwardsh,edirected- butoinbyHoylwoodin-
temofdirecteelctionoft- hsitorciaelventsthatwere- modernKoreanhsitory. tryfeltthreatenedb- Wtih“BalckRepubcil”h,e- posedthetorturousacts- cedemocratziatoinand- eStarrysIalnd1(993A,)Sin- dearnproufti,nlikebefore- wasanexpolrerwho- WhteiBadge1(992a)bou-t troducedtheKoreaninte-l
hepresident. consideredtaboodur- HedebutedwtihMis-t yAmercianfilmcom- becameoneofthetopfgi- careidoutbythemtilary- contemplatingont- gleSpark(1995) whenonlyKorean- experimentedwtihvar-i thecruetlyoftheKorean- elctuawl ordlandthear-t
Howevear,thepresdien- ingthemiltarydictator- WhsipersLikeWom- paneisfre’eaccesstothein- uresintheKoreanfiml in- governmenth, ave- heartofcinematograph- andTheUprising1(998.) filmcompaniesim- ousmethods. mitlaryintheVeitnam- wordls’progressvieand-
tiaelelctoininDecember- shpiin,culdingconfciltsbe- enin1982I.nhisearly- Theyressitedtheshow- dustrywtihnewcine- puthiminthespotlgih- yaroused. Hismoviesportray- portedanddistributed. Andintermsofcon- Warandtheirtrauma- natoinasiltciveiww, hcihal-t
ofthatyeathr,eoppostion- tweentheleft- daysh,edirectedafew- ingofFataAltractoinand- matciaesthetci“T.otheStar- tonceagain. Someofthemostfa- heavysocainlatureinpci- InSeptember1988a,nA- tenht,ewasaninteelctua-l experienced- erbecameanimpor-
partys’candidatesdviid- istsandthergihtistsbefore- filmswithleadingfe- demandedthebolck- ryIsland”wasafine- wavetheresistance- mousdirectorsofthis- turesqueMsieenscene. mericandistribu- whodugdeepinto- throughthewaran- tantbackgroundi-
ede,xtendingthemtialry- andaftertheKorean- malecharacters. ageofdirectdsitrbiutoinan- peicethatcomfortedthe-t movementarosein- generationinclude- Hepreferredcinema- torUPIreelasedFataAltrac- theironyofKoreansoc-i dLifeofHolywood- nunderstandingth-
dictatorship. Warorthechangedsgi- Hsiveiwofiml sandsoc-i drevisoinintheMotoin- ragedyofnatoinadlvisioin- June198T7.hepeopelre- ParkKwangsu- tciinterventoinintoreatilyfro- toinA(drianLyne19,87K,)o- etywtihoutmaking- Kdi1(99w4,)hcihcrtciziedthe- eemergenceoftheKo-
Wtihtheextensoinofthe- nifcanceoftheVeitnam. etychangedbecau- PicturesAct. wtihresovlingbtiernes- beeldagainsthemtilary- JangSun- maprogressiveposi- reas’firstdirectyldsitrbiutedfilm. anycompromises. psychoolgciaelfectsofHo-l reanNewWave.
mitlarydcitatorshpifu,dle- Theyalsoatempted- seofthechangedsoc-i ThepeopeloftheKore- sandmakingeforts- dcitatorshpithathadcon- wooC,hungJiyoun- tionb,utlaterm, oved- Rigorouscensorshi- In“ChilsuandMan- ylwoodfilmsonKore. Aroundthistimea,n-
mocracyandfree- todrawprospect- aaltmosphereafterthe- anfiml industrywhore- forcoexistence. tinuedfor26yearssince- gandLeeMyungse. towardsamorein- pandabsurdfilmpol-i su”h,econnectedthet- Hsiworksinthealte1990s- ewmovementap-
domwerepost- towardsthechange- JuneDemocracy- sisteddirectdistrbiutoinby- AndA“SingelSpark”- 1961andwonthem- Theytreidtoreinterprethe- depthperspectiveon- ceisnearyldestroyedthe- wocharacterstra’gcifam-i ddintre’ceviemuchinter- pearedintheKoreanfi-l
ponedb,uthegreatmo- sinKoreansoceitytha-t Movementa,nd- Hoylwoodwereojined- wasamasterpiece- selvesasystemofdi- hsitorciaelventsthatwere- modernKoreanhsitory. foundatoinofthefilmin- ylhsitorywtihKoreanhsi- esbt,uthisrecentfilmsU,n- mindustry.
mentumcoudlnot- continuedtoexpereince- mostofaal,fterprotestin- bytheantiAmercian- whcihwasaresutolfth- recteelctoinofthepresdient. consideredtaboodur- HedebutedwtihMis-t dustryduringthemtailry- toryandexpandedthe- bowed2(01w1,)hichcrit- Anewgenera-
bestopped. suppressoinandcreate- gagainsthedirectdsitrbiu- movementoftheKore- eencounterofanartsit’be- Howevear,thepresdien- ingthemiltarydictator- WhsipersLikeWom- dcitatorshpis,othepeopelin- domainof- cizedtheKoreanujdciia-l toinseekingtorecreatether-
Koreansoceitywasrap- anaesthetciconventoin- toinofHoylwoodfilms. aninteelctuasloceityfoolw- eilfandthespirtoifthetimes. tiaelelctoininDecember- shpiin,culdingconfciltsbe- enin1982I.nhisearly- theKoreanfilmindus- Chungmuro. systema,ndNatoinaSle- elationshipbetween-
diylchangingT.he6threv-i forKoreancinematogra- Hewasdevotedtothe- ingtheJuneDemoc- Wheilmaojringinscupl- ofthatyeathr,eoppostion- tweentheleft- daysh,edirectedafew- tryfeltthreatenedb- Wtih“BalckRepubcil”h,e- curity(2012w), hichex- filmsandsoceitybyutilz-
soinintheMotoinPciture- phythatwasappropr-i protestagainstdirectdsitrbiu- racyMovemen- tureatSeouNl atoinaUln-i partys’candidatesdviid- istsandthergihtistsbefore- filmswithleadingfe- yAmercianfilmcom- becameoneofthetopfgi- posedthetorturousacts- ingtheexpansion-
sActin1986liberalizingfor- ateforthenewera. toina,ndin1990h,erecevie- tin8‘7andgrewpowerfu.l verstiyh,eojinedthecine- ede,xtendingthemtialry- andaftertheKorean- malecharacters. paneisfre’eaccesstothein. uresintheKoreanfiml in- careidoutbythemtilary- ofmateraislandtopcissin-
eignfilmimports- InthehistoryofKorean- datentionforhisfilmre- TheJuneDemocra- maclubY‘alashyeo- dictatorship. Warorthechangedsgi- Hsiveiwofiml sandsoc-i Theyressitedtheshow- dustrywtihnewcine- governmenth, ave- cedemocratziatoinand-
madetipossbielforforegin- fiml sth,eyarecaeldtheKo- gardingCommu- cyMovementandre- nga’ndstartedtomake. Wtihtheextensoinofthe- nifcanceoftheVeitnam. etychangedbecau- ingofFataAltractoinand- matciaesthetci“T.otheStar- puthiminthespotlgih- contemplatingont-
companeistoconduc-t reanNewWave. nsitswhowerepartsian- ssitanceagainstdirectdsitr-i Afterwardsh,ealsodid- mitlarydcitatorshpifu,dle- Theyalsoatempted- seofthechangedsoc-i demandedthebolck- ryIsland”wasafine- tonceagain. heartofcinematograph-
thefiml businessinKorea. ParkKwangsudur- sinSouthKoreadur- butoinbyHoylwoodin- sometheaterworkH. e- mocracyandfree- todrawprospect- aaltmosphereafterthe- ageofdirectdsitrbiutoinan- peicethatcomfortedthe-t Koreannew- yaroused.
Thsiactoinmeantfilm- ingthe1990shadbeeno- ingtheKoreanWaNr, or-t troducedtheKoreaninte-l studeidinFranceand- domwerepost- towardsthechange- JuneDemocracy- drevisoinintheMotoin- ragedyofnatoinadlvisioin- wavetheresistance- Someofthemostfa-
companiesinHoly- fapreservatvieforKorean- hKoreanPartisanin- elctuawl ordlandthear-t graduatedfromEcoel- ponedb,uthegreatmo- sinKoreansoceitytha-t Movementa,nd- PicturesAct. wtihresovlingbtiernes- movementarosein- mousdirectorsofthis-
woodcoudldistribute- filmsandthealbeolfanin. SouthKorea. wordls’progressvieand- SupérieuredÉ’ tu- mentumcoudlnot- continuedtoexpereince- mostofaal,fterprotestin- ThepeopeloftheKore- sandmakingeforts- June1987. generationinclude-
filmsdirectylinKoreaan- Intermsofstyleh, e- Afterwardsh,edirected- natoinasiltciveiww, hcihal-t desCinémato- bestopped. suppressoinandcreate- gagainsthedirectdsitrbiu- anfiml industrywhore- forcoexistence. Thepeoplerebeled- ParkKwangsu-
dearnproufti,nlikebefore- wasanexpolrerwho- WhteiBadge1(992a)bou-t erbecameanimpor- graphiquesS(chooolf- Koreansoceitywasrap- anaesthetciconventoin- toinofHoylwoodfilms. sisteddirectdistrbiutoinby- AndA“SingelSpark”- againsthemtailrydcitator- JangSun-
whenonlyKorean- experimentedwtihvar-i thecruetlyoftheKorean- tantbackgroundi- FilmStudies) diylchangingT.he6threv-i forKoreancinematogra- Hewasdevotedtothe- Hoylwoodwereojined- wasamasterpiece- shpithathadcontinued- wooC,hungJiyoun-
filmcompaniesim- ousmethods. mitlaryintheVeitnam- nunderstandingth- andmadehsidebutin- soinintheMotoinPciture- phythatwasappropr-i protestagainstdirectdsitrbiu- bytheantiAmercian- whcihwasaresutolfth- for26yearssince1961and- gandLeeMyungse.
portedanddistributed. Andintermsofcon- Warandtheirtrauma- eemergenceoftheKo- 1988withChilsuand- sActin1986liberalizingfor- ateforthenewera. toina,ndin1990h,erecevie- movementoftheKore- eencounterofanartsit’be- wonthemsevlesasys- Theytreidtoreinterprethe-
InSeptember1988a,nA- tenht,ewasaninteelctua-l experienced- reanNewWave. Masu(Wonthe2n- eignfilmimports- InthehistoryofKorean- datentionforhisfilmre- aninteelctuasloceityfoolw- eilfandthespirtoifthetimes. temofdirectelectionoft- hsitorciaelventsthatwere-
mericandistribu- whodugdeepinto- throughthewaran- Aroundthistimea,n- drunnerupprizeforth- madetipossbielforforegin- fiml sth,eyarecaeldtheKo- gardingCommu- ingtheJuneDemoc- Wheilmaojringinscupl- hepresident. consideredtaboodur-
torUPIreelasedFataAltrac- theironyofKoreansoc-i dLifeofHolywood- ewmovementap- eYoungCrtics’Awarda-t companeistoconduc-t reanNewWave. nsitswhowerepartsian- racyMovemen- tureatSeouNl atoinaUln-i Howevear,thepresdien- ingthemiltarydictator-
toinA(drianLyne19,87K,)o- etywtihoutmaking- Kdi1(99w4,)hcihcrtciziedthe- pearedintheKoreanfi-l the42ndLocarnoInter- thefiml businessinKorea. ParkKwangsudur- sinSouthKoreadur- tin8‘7andgrewpowerfu.l verstiyh,eojinedthecine- tiaelelctoininDecember- shpiin,culdingconfciltsbe-
reas’firstdirectyldsitrbiutedfilm. anycompromises. psychoolgciaelfectsofHo-l mindustry. nationalFilmFestival) Thsiactoinmeantfilm- ingthe1990shadbeeno- ingtheKoreanWaNr, or-t TheJuneDemocra- maclubY‘alashyeo- ofthatyeathr,eoppostion- tweentheleft-
Rigorouscensorshi- In“ChilsuandMan- ylwoodfilmsonKore. Anewgenera- Hedirectedfilmssu- companiesinHoly- fapreservatvieforKorean- hKoreanPartisanin- cyMovementandre- nga’ndstartedtomake. partys’candidatesdviid- istsandthergihtistsbefore-
pandabsurdfilmpol-i su”h,econnectedthet- Hsiworksinthealte1990s- toinseekingtorecreatether- chasBlackRepub- woodcoudldistribute- filmsandthealbeolfanin. SouthKorea. ssitanceagainstdirectdsitr-i Afterwardsh,ealsodid- ede,xtendingthemtialry- andaftertheKorean-
ceisnearyldestroyedthe- wocharacterstra’gcifam-i ddintre’ceviemuchinter- elationshipbetween- cil1(990w, inneroftheJudg- filmsdirectylinKoreaan- Intermsofstyleh, e- Afterwardsh,edirected- butoinbyHoylwoodin- sometheaterworkH. e- dictatorship. Warorthechangedsgi-
foundatoinofthefilmin- ylhsitorywtihKoreanhsi- esbt,uthisrecentfilmsU,n- filmsandsoceitybyutilz- eAs’wardathe12thFest-i dearnproufti,nlikebefore- wasanexpolrerwho- WhteiBadge1(992a)bou-t troducedtheKoreaninte-l studeidinFranceand- Wtihtheextensoinofthe- nifcanceoftheVeitnam.
dustryduringthemtailry- toryandexpandedthe- bowed2(01w1,)hichcrit- ingtheexpansion- valoftheThreeConti- whenonlyKorean- experimentedwtihvar-i thecruetlyoftheKorean- elctuawl ordlandthear-t graduatedfromEcoel- mitlarydcitatorshpifu,dle- Theyalsoatempted-
dcitatorshpis,othepeopelin- domainof- cizedtheKoreanujdciia-l ofmateraislandtopcissin- nentBs,)erilnRepor1t(99T1,o)th- filmcompaniesim- ousmethods. mitlaryintheVeitnam- wordls’progressvieand- SupérieuredÉ’ tu- mocracyandfree- todrawprospect-
theKoreanfilmindus- Chungmuro. systema,ndNatoinaSle- cedemocratziatoinand- eStarrysIalnd1(993A,)Sin- portedanddistrbiutedIn- Andintermsofcon- Warandtheirtrauma- natoinasiltciveiww, hcihal-t desCinémato- domwerepost- towardsthechange-
tryfeltthreatenedb- Wtih“BalckRepubcil”h,e- curity(2012w), hichex- contemplatingont- gleSpark(1995) September1988a,nA- tenht,ewasaninteelctua-l experienced- erbecameanimpor- graphiquesS(choolof- ponedb,uthegreatmo- sinKoreansoceitytha-t
yAmercianfilmcom- becameoneofthetopfgi- posedthetorturousacts- heartofcinematograph- andTheUprising1(998.) mericandistribu- whodugdeepinto- throughthewaran- tantbackgroundi- FilmStudies) mentumcoudlnot- continuedtoexpereince-
paneisfre’eaccesstothein. uresintheKoreanfiml in- careidoutbythemtilary- yaroused. Hismoviesportray- torUPIreelasedFataAltrac- theironyofKoreansoc-i dLifeofHolywood- nunderstandingth- andmadehsidebutin- bestopped. suppressoinandcreate-
Theyressitedtheshow- dustrywtihnewcine- governmenth, ave- Someofthemostfa- heavysocainlatureinpci- toinA(drianLyne19,87K,)o- etywtihoutmaking- Kdi1(99w4,)hcihcrtciziedthe- eemergenceoftheKo- 1988withChilsuand- Koreansoceitywasrap- anaesthetciconventoin-
ingofFataAltractoinand- matciaesthetci“T.otheStar- puthiminthespotlgih- mousdirectorsofthis- turesqueMsieenscene. reas’firstdirectyldsitrbiutedfilm. anycompromises. psychoolgciaelfectsofHo-l reanNewWave. Masu(Wonthe2n- diylchangingT.he6threv-i forKoreancinematogra-
demandedthebolck- ryIsland”wasafine- tonceagain. generationinclude- Hepreferredcinema- Rigorouscensorshi- In“ChilsuandMan- ylwoodfilmsonKore- Aroundthistimea,n- drunnerupprizeforth- soinintheMotoinPciture- phythatwasappropr-i
ageofdirectdsitrbiutoinan- peicethatcomfortedthe-t Thepeoplerebeled- ParkKwangsu- tciinterventoinintoreatilyfro- pandabsurdfilmpol-i su”h,econnectedthet- Hsiworksinthealte1990s- ewmovementap- eYoungCrtics’Awarda-t sActin1986liberalizingfor- ateforthenewera.
drevisoinintheMotoin- ragedyofnatoinadlvisioin- againsthemtailrydcitator- JangSun- maprogressiveposi- ceisnearyldestroyedthe- wocharacterstra’gcifam-i ddintre’ceviemuchinter- pearedintheKoreanfi-l the42ndLocarnoInter- eignfilmimports- InthehistoryofKorean-
PicturesAct. wtihresovlingbtiernes- shpithathadcontinued- wooC,hungJiyoun- tionb,utlaterm, oved- foundatoinofthefilmin- ylhsitorywtihKoreanhsi- esbt,uthisrecentfilmsU,n- mindustry. nationalFilmFestival) madetipossbielforforegin- fiml sth,eyarecaeldtheKo-
ThepeopeloftheKore- sandmakingeforts- for26yearssince1961and- gandLeeMyungse. towardsamorein- dustryduringthemtailry- toryandexpandedthe- bowed2(01w1,)hichcrit- Anewgenera- Hedirectedfilmssu- companeistoconduc-t reanNewWave.
anfiml industrywhore- forcoexistence. wonthemsevlesasys- Theytreidtoreinterprethe- depthperspectiveon- dcitatorshpis,othepeopelin- domainof- cizedtheKoreanujdciia-l toinseekingtorecreatether- chasBlackRepub- thefiml businessinKorea. ParkKwangsudur-
sisteddirectdistrbiutoinby- AndA“SingelSpark”- temofdirectelectionoft- hsitorciaelventsthatwere- modernKoreanhsitory. theKoreanfilmindus- Chungmuro. systema,ndNatoinaSle- elationshipbetween- cil1(990w, inneroftheJudg- Thsiactoinmeantfilm- ingthe1990shadbeeno-
Hoylwoodwereojined- wasamasterpiece- hepresident. consideredtaboodur- HedebutedwtihMis-t tryfeltthreatenedb- Wtih“BalckRepubcil”h,e- curity(2012w), hichex- filmsandsoceitybyutilz- eAs’wardathe12thFest-i companiesinHoly- fapreservatvieforKorean-
bytheantiAmercian- whcihwasaresutolfth- Howevear,thepresdien- ingthemiltarydictator- WhsipersLikeWom- yAmercianfilmcom- becameoneofthetopfgi- posedthetorturousacts- ingtheexpansion- valoftheThreeConti- woodcoudldistribute- filmsandthelabelo-
movementoftheKore- eencounterofanartsit’be- tiaelelctoininDecember- shpiin,culdingconfciltsbe- enin1982I.nhisearly- paneisfre’eaccesstothein- uresintheKoreanfiml in- careidoutbythemtilary- ofmateraislandtopcissin- nentBs,)erilnRepor1t(99T1,o)th- filmsdirectylinKoreaan- faninIntermsofstyelh,e-
aninteelctuasloceityfoolw- eilfandthespirtoifthetimes. ofthatyeathr,eoppostion- tweentheleft- daysh,edirectedafew- Theyressitedtheshow- dustrywtihnewcine- governmenth, ave- cedemocratziatoinand- eStarrysIalnd1(993A,)Sin- dearnproufti,nlikebefore- wasanexpolrerwho-
ingtheJuneDemoc- Wheilmaojringinscupl- partys’candidatesdviid- istsandthergihtistsbefore- filmswithleadingfe- ingofFataAltractoinand- matciaesthetci“T.otheStar- puthiminthespotlgih- contemplatingont- gleSpark(1995) whenonlyKorean- experimentedwtihvar-i
racyMovemen- tureatSeouNl atoinaUln-i ede,xtendingthemtialry- andaftertheKorean- malecharacters. demandedthebolck- ryIsland”wasafine- tonceagain. heartofcinematograph- andTheUprising1(998.) filmcompaniesim- ousmethods.
tin8‘7andgrewpowerfu.l verstiyh,eojinedthecine- dictatorship. Warorthechangedsgi- Hsiveiwofiml sandsoc-i ageofdirectdsitrbiutoinan- peicethatcomfortedthe-t Koreannew- yaroused. Hismoviesportray- portedanddistributed. Andintermsofcon-
TheJuneDemocra- maclubY‘alashyeo- Wtihtheextensoinofthe- nifcanceoftheVeitnam. etychangedbecau- drevisoinintheMotoin- ragedyofnatoinadlvisioin- wavetheresistance- Someofthemostfa- heavysocainlatureinpci- InSeptember1988a,nA- tenht,ewasaninteelctua-l
cyMovementandre- nga’ndstartedtomake. mitlarydcitatorshpifu,dle- Theyalsoatempted- seofthechangedsoc-i PicturesAct. wtihresovlingbtiernes- movementarosein- mousdirectorsofthis- turesqueMsieenscene. mericandistribu- whodugdeepinto-
ssitanceagainstdirectdsitr-i Afterwardsh,ealsodid- mocracyandfree- todrawprospect- aaltmosphereafterthe- ThepeopeloftheKore- sandmakingeforts- June1987. generationinclude- Hepreferredcinema- torUPIreelasedFataAltrac- theironyofKoreansoc-i
butoinbyHoylwoodin- sometheaterworkH. e- domwerepost- towardsthechange- JuneDemocracy- anfiml industrywhore- forcoexistence. Thepeoplerebeled- ParkKwangsu- tciinterventoinintoreatilyfro- toinA(drianLyne19,87K,)o- etywtihoutmaking-
troducedtheKoreaninte-l studeidinFranceand- ponedb,uthegreatmo- sinKoreansoceitytha-t Movementa,nd- sisteddirectdistrbiutoinby- AndA“SingelSpark”- againsthemtailrydcitator- JangSun- maprogressiveposi- reas’firstdirectyldsitrbiutedfilm. anycompromises.
elctuawl ordlandthear-t graduatedfromEcoel- mentumcoudlnot- continuedtoexpereince- mostofaal,fterprotestin- Hoylwoodwereojined- wasamasterpiece- shpithathadcontinued- wooC,hungJiyoun- tionb,utlaterm, oved- Rigorouscensorshi- In“ChilsuandMan-
wordls’progressvieand- SupérieuredÉ’ tu- bestopped. suppressoinandcreate- gagainsthedirectdsitrbiu- bytheantiAmercian- whcihwasaresutolfth- for26yearssince1961and- gandLeeMyungse. towardsamorein- pandabsurdfilmpol-i su”h,econnectedthet-
natoinasiltciveiww, hcihal-t desCinémato- Koreansoceitywasrap- anaesthetciconventoin- toinofHoylwoodfilms. movementoftheKore- eencounterofanartsit’be- wonthemsevlesasys- Theytreidtoreinterprethe- depthperspectiveon- ceisnearyldestroyedthe- wocharacterstra’gcifam-i
erbecameanimpor- graphiquesS(choolof- diylchangingT.he6threv-i forKoreancinematogra- Hewasdevotedtothe- aninteelctuasloceityfoolw- eilfandthespirtoifthetimes. temofdirectelectionoft- hsitorciaelventsthatwere- modernKoreanhsitory. foundatoinofthefilmin- ylhsitorywtihKoreanhsi-
tantbackgroundi- FilmStudies) soinintheMotoinPciture- phythatwasappropr-i protestagainstdirectdsitrbiu- ingtheJuneDemoc- Wheilmaojringinscupl- hepresident. consideredtaboodur- HedebutedwtihMis-t dustryduringthemtailry- toryandexpandedthe-
nunderstandingth- andmadehsidebutin- sActin1986liberalizingfor- ateforthenewera. toina,ndin1990h,erecevie- racyMovemen- tureatSeouNl atoinaUln-i Howevear,thepresdien- ingthemiltarydictator- WhsipersLikeWom- dcitatorshpis,othepeopelin- domainof-
eemergenceoftheKo- 1988withChilsuand- eignfilmimports- InthehistoryofKorean- datentionforhisfilmre- tin8‘7andgrewpowerfu.l verstiyh,eojinedthecine- tiaelelctoininDecember- shpiin,culdingconfciltsbe- enin1982I.nhisearly- theKoreanfilmindus- Chungmuro.
reanNewWave. Masu(Wonthe2n- madetipossbielforforegin- fiml sth,eyarecaeldtheKo- gardingCommu- TheJuneDemocra- maclubY‘alashyeo- ofthatyeathr,eoppostion- tweentheleft- daysh,edirectedafew- tryfeltthreatenedb- Wtih“BalckRepubcil”h,e-
Aroundthistimea,n- drunnerupprizeforth- companeistoconduc-t reanNewWave. nsitswhowerepartsian- cyMovementandre- nga’ndstartedtomake. partys’candidatesdviid- istsandthergihtistsbefore- filmswithleadingfe- yAmercianfilmcom- becameoneofthetopfgi-
ewmovementap- eYoungCrtics’Awarda-t thefiml businessinKorea. ParkKwangsudur- sinSouthKoreadur- ssitanceagainstdirectdsitr-i Afterwardsh,ealsodid- ede,xtendingthemtialry- andaftertheKorean- malecharacters. paneisfre’eaccesstothein- uresintheKoreanfiml in-
pearedintheKoreanfi-l the42ndLocarnoInter- Thsiactoinmeantfilm- ingthe1990shadbeeno- ingtheKoreanWaNr, or-t butoinbyHoylwoodin- sometheaterworkH. e- dictatorship. Warorthechangedsgi- Hsiveiwofiml sandsoc-i Theyressitedtheshow- dustrywtihnewcine-
mindustry. nationalFilmFestival) companiesinHoly- fapreservatvieforKorean- hKoreanPartisanin- troducedtheKoreaninte-l studeidinFranceand- Wtihtheextensoinofthe- nifcanceoftheVeitnam. etychangedbecau- ingofFataAltractoinand- matciaesthetci“T.otheStar-
Anewgenera- Hedirectedfilmssu- woodcoudldistribute- filmsandthealbeolfanin. SouthKorea. elctuawl ordlandthear-t graduatedfromEcoel- mitlarydcitatorshpifu,dle- Theyalsoatempted- seofthechangedsoc-i demandedthebolck- ryIsland”wasafine-
toinseekingtorecreatether- chasBlackRepub- filmsdirectylinKoreaan- Intermsofstyleh, e- Afterwardsh,edirected- wordls’progressvieand- SupérieuredÉ’ tu- mocracyandfree- todrawprospect- aaltmosphereafterthe- ageofdirectdsitrbiutoinan- peicethatcomfortedthe-t
elationshipbetween- cil1(990w, inneroftheJudg- dearnproufti,nlikebefore- wasanexpolrerwho- WhteiBadge1(992a)bou-t natoinasiltciveiww, hcihal-t desCinémato- domwerepost- towardsthechange- JuneDemocracy- drevisoinintheMotoin- ragedyofnatoinadlvisioin-
filmsandsoceitybyutilz- eAs’wardathe12thFest-i whenonlyKorean- experimentedwtihvar-i thecruetlyoftheKorean- erbecameanimpor- graphiquesS(chooolf- ponedb,uthegreatmo- sinKoreansoceitytha-t Movementa,nd- PicturesAct. wtihresovlingbtiernes-
ingtheexpansion- valoftheThreeConti- filmcompaniesim- ousmethods. mitlaryintheVeitnam- tantbackgroundi- FilmStudies) mentumcoudlnot- continuedtoexpereince- mostofaal,fterprotestin- ThepeopeloftheKore- sandmakingeforts-
ofmateraislandtopcissin- nentBs,)erilnRepor1t(99T1,o)th- portedanddistributed. Andintermsofcon- Warandtheirtrauma- nunderstandingth- andmadehsidebutin- bestopped. suppressoinandcreate- gagainsthedirectdsitrbiu- anfiml industrywhore- forcoexistence.
cedemocratziatoinand- eStarrysIalnd1(993A,)Sin- InSeptember1988a,nA- tenht,ewasaninteelctua-l experienced- eemergenceoftheKo- 1988withChilsuand- Koreansoceitywasrap- anaesthetciconventoin- toinofHoylwoodfilms. sisteddirectdistrbiutoinby- AndA“SingelSpark”-
contemplatingont- gleSpark(1995) mericandistribu- whodugdeepinto- throughthewaran- reanNewWave. Masu(Wonthe2n- diylchangingT.he6threv-i forKoreancinematogra- Hewasdevotedtothe- Hoylwoodwereojined- wasamasterpiece-
heartofcinematograph- andTheUprising1(998.) torUPIreelasedFataAltrac- theironyofKoreansoc-i dLifeofHolywood- Aroundthistimea,n- drunnerupprizeforth- soinintheMotoinPciture- phythatwasappropr-i protestagainstdirectdsitrbiu- bytheantiAmercian- whcihwasaresutolfth-

008

Koreannew- tantbackgroundi- AndA“SingelSpark”- Hsiworksinthealte1990s- cyMovementandre- dustrywtihnewcine- mitlaryintheVeitnam- sisteddirectdistrbiutoinby- su”h,econnectedthet- gardingCommu- theKoreanfilmindus- filmsandthealbeolfanin.
wavetheresistance- nunderstandingth- wasamasterpiece- ddintre’ceviemuchinter- ssitanceagainstdirectdsitr-i matciaesthetci“T.otheStar- Warandtheirtrauma- Hoylwoodwereojined- wocharacterstra’gcifam-i nsitswhowerepartsian- tryfeltthreatenedb- Intermsofstyleh, e-
movementarosein- eemergenceoftheKo- whcihwasaresutolfth- esbt,uthisrecentfilmsU,n- butoinbyHoylwoodin- ryIsland”wasafine- experienced- bytheantiAmercian- ylhsitorywtihKoreanhsi- sinSouthKoreadur- yAmercianfilmcom- wasanexpolrerwho-
June1987. reanNewWave. eencounterofanartsit’be- bowed2(01w1,)hichcrit- troducedtheKoreaninte-l peicethatcomfortedthe-t throughthewaran- movementoftheKore- toryandexpandedthe- ingtheKoreanWaNr, or-t paneisfre’eaccesstothein. experimentedwtihvar-i
Thepeoplerebeled- Aroundthistimea,n- eilfandthespirtoifthetimes. cizedtheKoreanujdciia-l elctuawl ordlandthear-t ragedyofnatoinadlvisioin- dLifeofHolywood- aninteelctuasloceityfoolw- domainof- hKoreanPartisanin- Theyressitedtheshow- ousmethods.
againsthemtailrydcitator- ewmovementap- Wheilmaojringinscupl- systema,ndNatoinaSle- wordls’progressvieand- wtihresovlingbtiernes- Kdi1(99w4,)hcihcrtciziedthe- ingtheJuneDemoc- Chungmuro. SouthKorea. ingofFataAltractoinand- Andintermsofcon-
shpithathadcontinued- pearedintheKoreanfi-l tureatSeouNl atoinaUln-i curity(2012w), hichex- natoinasiltciveiww, hcihal-t sandmakingeforts- psychoolgciaelfectsofHo-l racyMovemen- Wtih“BalckRepubcil”h,e- Afterwardsh,edirected- demandedthebolck- tenht,ewasaninteelctua-l
for26yearssince1961and- mindustry. verstiyh,eojinedthecine- posedthetorturousacts- erbecameanimpor- forcoexistence. ylwoodfilmsonKore- tin8‘7andgrewpowerfu.l becameoneofthetopfgi- WhteiBadge1(992a)bou-t ageofdirectdsitrbiutoinan- whodugdeepinto-
wonthemsevlesasys- Anewgenera- maclubY‘alashyeo- careidoutbythemtilary- tantbackgroundi- AndA“SingelSpark”- ddintre’ceviemuchinter- TheJuneDemocra- uresintheKoreanfiml in- thecruetlyoftheKorean- drevisoinintheMotoin- theironyofKoreansoc-i
temofdirectelectionoft- toinseekingtorecreatether- nga’ndstartedtomake. governmenth, ave- nunderstandingth- wasamasterpiece- esbt,uthisrecentfilmsU,n- cyMovementandre- dustrywtihnewcine- mitlaryintheVeitnam- PicturesAct. etywtihoutmaking-
hepresident. elationshipbetween- Afterwardsh,ealsodid- puthiminthespotlgih- eemergenceoftheKo- whcihwasaresutolfth- bowed2(01w1,)hichcrit- ssitanceagainstdirectdsitr-i matciaesthetci“T.otheStar- Warandtheirtrauma- ThepeopeloftheKore- anycompromises.
Howevear,thepresdien- filmsandsoceitybyutilz- sometheaterworkH. e- tonceagain. reanNewWave. eencounterofanartsit’be- cizedtheKoreanujdciia-l butoinbyHoylwoodin- ryIsland”wasafine- experienced- anfiml industrywhore- In“ChilsuandMan-
tiaelelctoininDecember- ingtheexpansion- studeidinFranceand- Thepeoplerebeled- Aroundthistimea,n- eilfandthespirtoifthetimes. systema,ndNatoinaSle- troducedtheKoreaninte-l peicethatcomfortedthe-t throughthewaran- sisteddirectdistrbiutoinby- su”h,econnectedthet-
ofthatyeathr,eoppostion- ofmateraislandtopcissin- graduatedfromEcoel- againsthemtailrydcitator- ewmovementap- Wheilmaojringinscupl- curity(2012w), hichex- elctuawl ordlandthear-t ragedyofnatoinadlvisioin- dLifeofHolywood- Hoylwoodwereojined- wocharacterstra’gcifam-i
partys’candidatesdviid- cedemocratziatoinand- SupérieuredÉ’ tu- shpithathadcontinued- pearedintheKoreanfi-l tureatSeouNl atoinaUln-i posedthetorturousacts- wordls’progressvieand- wtihresovlingbtiernes- Kdi1(99w4,)hcihcrtciziedthe- bytheantiAmercian- ylhsitorywtihKoreanhsi-
ede,xtendingthemtialry- contemplatingont- desCinémato- for26yearssince1961and- mindustry. verstiyh,eojinedthecine- careidoutbythemtilary- natoinasiltciveiww, hcihal-t sandmakingeforts- psychoolgciaelfectsofHo-l movementoftheKore- toryandexpandedthe-
dictatorship. heartofcinematograph- graphiquesS(chooolf- wonthemsevlesasys- Anewgenera- maclubY‘alashyeo- governmenth, ave- erbecameanimpor- forcoexistence. ylwoodfilmsonKore- aninteelctuasloceityfoolw- domainof-
Wtihtheextensoinofthe- yaroused. FilmStudies) temofdirecteelctionoft- toinseekingtorecreatether- nga’ndstartedtomake. puthiminthespotlgih- tantbackgroundi- AndA“SingelSpark”- Hsiworksinthealte1990s- ingtheJuneDemoc- Chungmuro.
mitlarydcitatorshpifu,dle- Someofthemostfa- andmadehsidebutin- hepresident. elationshipbetween- Afterwardsh,ealsodid- tonceagain. nunderstandingth- wasamasterpiece- ddintre’ceviemuchinter- racyMovemen- Wtih“BalckRepubcil”h,e-
mocracyandfree- mousdirectorsofthis- 1988withChilsuand- Howevear,thepresdien- filmsandsoceitybyutilz- sometheaterworkH. e- wavetheresistance- eemergenceoftheKo- whcihwasaresutolfth- esbt,uthisrecentfilmsU,n- tin8‘7andgrewpowerfu.l becameoneofthetopfgi-
domwerepost- generationinclude- Masu(Wonthe2n- tiaelelctoininDecember- ingtheexpansion- studeidinFranceand- movementarosein- reanNewWave. eencounterofanartsit’be- bowed2(01w1,)hichcrit- TheJuneDemocra- uresintheKoreanfiml in-
ponedb,uthegreatmo- ParkKwangsu- drunnerupprizeforth- ofthatyeathr,eoppostion- ofmateraislandtopcissin- graduatedfromEcoel- June198T7.hepeopelre- Aroundthistimea,n- eilfandthespirtoifthetimes. cizedtheKoreanujdciia-l cyMovementandre- dustrywtihnewcine-
mentumcoudlnot- JangSun- eYoungCrtics’Awarda-t partys’candidatesdviid- cedemocratziatoinand- SupérieuredÉ’ tu- beeldagainsthemtilary- ewmovementap- Wheilmaojringinscupl- systema,ndNatoinaSle- ssitanceagainstdirectdsitr-i matciaesthetci“T.otheStar-
bestopped. wooC,hungJiyoun- the42ndLocarnoInter- ede,xtendingthemtialry- contemplatingont- desCinémato- dcitatorshpithathadcon- pearedintheKoreanfi-l tureatSeouNl atoinaUln-i curity(2012w), hichex- butoinbyHoylwoodin- ryIsland”wasafine-
Koreansoceitywasrap- gandLeeMyungse. nationalFilmFestival) dictatorship. heartofcinematograph- graphiquesS(choolof- tinuedfor26yearssince- mindustry. verstiyh,eojinedthecine- posedthetorturousacts- troducedtheKoreaninte-l peicethatcomfortedthe-t
diylchangingT.he6threv-i Theytreidtoreinterprethe- Hedirectedfilmssu- Wtihtheextensoinofthe- yaroused. FilmStudies) 1961andwonthem- Anewgenera- maclubY‘alashyeo- careidoutbythemtilary- elctuawl ordlandthear-t ragedyofnatoinadlvisioin-
soinintheMotoinPciture- hsitorciaelventsthatwere- chasBlackRepub- mitlarydcitatorshpifu,dle- Someofthemostfa- andmadehsidebutin- selvesasystemofdi- toinseekingtorecreatether- nga’ndstartedtomake. governmenth, ave- wordls’progressvieand- wtihresovlingbtiernes-
sActin1986liberalizingfor- consideredtaboodur- cil1(990w, inneroftheJudg- mocracyandfree- mousdirectorsofthis- 1988withChilsuand- recteelctoinofthepresdient. elationshipbetween- Afterwardsh,ealsodid- puthiminthespotlgih- natoinasiltciveiww, hcihal-t sandmakingeforts-
eignfilmimports- ingthemiltarydictator- eAs’wardathe12thFest-i domwerepost- generationinclude- Masu(Wonthe2n- Howevear,thepresdien- filmsandsoceitybyutilz- sometheaterworkH. e- tonceagain. erbecameanimpor- forcoexistence.
madetipossbielforforegin- shpiin,culdingconfciltsbe- valoftheThreeConti- ponedb,uthegreatmo- ParkKwangsu- drunnerupprizeforth- tiaelelctoininDecember- ingtheexpansion- studeidinFranceand- Koreannew- tantbackgroundi- AndA“SingelSpark”-
companeistoconduc-t tweentheleft- nentBs,)erilnRepor1t(99T1,o)th- mentumcoudlnot- JangSun- eYoungCrtics’Awarda-t ofthatyeathr,eoppostion- ofmateraislandtopcissin- graduatedfromEcoel- wavetheresistance- nunderstandingth- wasamasterpiece-
thefiml businessinKorea. istsandthergihtistsbefore- eStarrysIalnd1(993A,)Sin- bestopped. wooC,hungJiyoun- the42ndLocarnoInter- partys’candidatesdviid- cedemocratziatoinand- SupérieuredÉ’ tu- movementarosein- eemergenceoftheKo- whcihwasaresutolfth-
Thsiactoinmeantfilm- andaftertheKorean- gleSpark(1995) Koreansoceitywasrap- gandLeeMyungse. nationalFilmFestival) ede,xtendingthemtialry- contemplatingont- desCinémato- June1987. reanNewWave. eencounterofanartsit’be-
companiesinHoly- Warorthechangedsgi- andTheUprising1(998.) diylchangingT.he6threv-i Theytreidtoreinterprethe- Hedirectedfilmssu- dictatorship. heartofcinematograph- graphiquesS(chooolf- Thepeoplerebeled- Aroundthistimea,n- eilfandthespirtoifthetimes.
woodcoudldistribute- nifcanceoftheVeitnam. Hismoviesportray- soinintheMotoinPciture- hsitorciaelventsthatwere- chasBlackRepub- Wtihtheextensoinofthe- yaroused. FilmStudies) againsthemtailrydcitator- ewmovementap- Wheilmaojringinscupl-
filmsdirectylinKoreaan- Theyalsoatempted- heavysocainlatureinpci- sActin1986liberalizingfor- consideredtaboodur- cil1(990w, inneroftheJudg- mitlarydcitatorshpifu,dle- Someofthemostfa- andmadehsidebutin- shpithathadcontinued- pearedintheKoreanfi-l tureatSeouNl atoinaUln-i
dearnproufti,nlikebefore- todrawprospect- turesqueMsieenscene. eignfilmimports- ingthemiltarydictator- eAs’wardathe12thFest-i mocracyandfree- mousdirectorsofthis- 1988withChilsuand- for26yearssince1961and- mindustry. verstiyh,eojinedthecine-
whenonlyKorean- towardsthechange- Hepreferredcinema- madetipossbielforforegin- shpiin,culdingconfciltsbe- valoftheThreeConti- domwerepost- generationinclude- Masu(Wonthe2n- wonthemsevlesasys- Anewgenera- maclubY‘alashyeo-
filmcompaniesim- sinKoreansoceitytha-t tciinterventoinintoreatilyfro- companeistoconduc-t tweentheleft- nentBs,)erilnRepor1t(99T1,o)th- ponedb,uthegreatmo- ParkKwangsu- drunnerupprizeforth- temofdirecteelctionoft- toinseekingtorecreatether- nga’ndstartedtomake.
portedanddistributed. continuedtoexpereince- maprogressiveposi- thefiml businessinKorea. istsandthergihtistsbefore- eStarrysIalnd1(993A,)Sin- mentumcoudlnot- JangSun- eYoungCrtics’Awarda-t hepresident. elationshipbetween- Afterwardsh,ealsodid-
InSeptember1988a,nA- suppressoinandcreate- tionb,utlaterm, oved- Thsiactoinmeantfilm- andaftertheKorean- gleSpark(1995) bestopped. wooC,hungJiyoun- the42ndLocarnoInter- Howevear,thepresdien- filmsandsoceitybyutilz- sometheaterworkH. e-
mericandistribu- anaesthetciconventoin- towardsamorein- companiesinHoly- Warorthechangedsgi- andTheUprising1(998.) Koreansoceitywasrap- gandLeeMyungse. nationalFilmFestival) tiaelelctoininDecember- ingtheexpansion- studeidinFranceand-
torUPIreelasedFataAltrac- forKoreancinematogra- depthperspectiveon- woodcoudldistribute- nifcanceoftheVeitnam. Hismoviesportray- diylchangingT.he6threv-i Theytreidtoreinterprethe- Hedirectedfilmssu- ofthatyeathr,eoppostion- ofmateraislandtopcissin- graduatedfromEcoel-
toinA(drianLyne19,87K,)o- phythatwasappropr-i modernKoreanhsitory. filmsdirectylinKoreaan- Theyalsoatempted- heavysocainlatureinpci- soinintheMotoinPciture- hsitorciaelventsthatwere- chasBlackRepub- partys’candidatesdviid- cedemocratziatoinand- SupérieuredÉ’ tu-
reas’firstdirectyldsitrbiutedfilm. ateforthenewera. HedebutedwtihMis-t dearnproufti,nlikebefore- todrawprospect- turesqueMsieenscene. sActin1986liberalizingfor- consideredtaboodur- cil1(990w, inneroftheJudg- ede,xtendingthemtialry- contemplatingont- desCinémato-
Rigorouscensorshi- InthehistoryofKorean- WhsipersLikeWom- whenonlyKorean- towardsthechange- Hepreferredcinema- eignfilmimports- ingthemiltarydictator- eAs’wardathe12thFest-i dictatorship. heartofcinematograph- graphiquesS(choolof-
pandabsurdfilmpol-i fiml sth,eyarecaeldtheKo- enin1982I.nhisearly- filmcompaniesim- sinKoreansoceitytha-t tciinterventoinintoreatilyfro- madetipossbielforforegin- shpiin,culdingconfciltsbe- valoftheThreeConti- Wtihtheextensoinofthe- yaroused. FilmStudies)
ceisnearyldestroyedthe- reanNewWave. daysh,edirectedafew- portedanddistributed. continuedtoexpereince- maprogressiveposi- companeistoconduc-t tweentheleft- nentBs,)erilnRepor1t(99T1,o)th- mitlarydcitatorshpifu,dle- Someofthemostfa- andmadehsidebutin-
foundatoinofthefilmin- ParkKwangsudur- filmswithleadingfe- InSeptember1988a,nA- suppressoinandcreate- tionb,utlaterm, oved- thefiml businessinKorea. istsandthergihtistsbefore- eStarrysIalnd1(993A,)Sin- mocracyandfree- mousdirectorsofthis- 1988withChilsuand-
dustryduringthemtailry- ingthe1990shadbeeno- malecharacters. mericandistribu- anaesthetciconventoin- towardsamorein- Thsiactoinmeantfilm- andaftertheKorean- gleSpark(1995) domwerepost- generationinclude- Masu(Wonthe2n-
dcitatorshpis,othepeopelin- fapreservatvieforKorean- Hsiveiwofiml sandsoc-i torUPIreelasedFataAltrac- forKoreancinematogra- depthperspectiveon- companiesinHoly- Warorthechangedsgi- andTheUprising1(998.) ponedb,uthegreatmo- ParkKwangsu- drunnerupprizeforth-
theKoreanfilmindus- filmsandthealbeolfanin. etychangedbecau- toinA(drianLyne19,87K,)o- phythatwasappropr-i modernKoreanhsitory. woodcoudldistribute- nifcanceoftheVeitnam. Hismoviesportray- mentumcoudlnot- JangSun- eYoungCrtics’Awarda-t
tryfeltthreatenedb- Intermsofstyleh, e- seofthechangedsoc-i reas’firstdirectyldsitrbiutedfilm. ateforthenewera. HedebutedwtihMis-t filmsdirectylinKoreaan- Theyalsoatempted- heavysocainlatureinpci- bestopped. wooC,hungJiyoun- the42ndLocarnoInter-
yAmercianfilmcom- wasanexpolrerwho- aaltmosphereafterthe- Rigorouscensorshi- InthehistoryofKorean- WhsipersLikeWom- dearnproufti,nlikebefore- todrawprospect- turesqueMsieenscene. Koreansoceitywasrap- gandLeeMyungse. nationalFilmFestival)
paneisfre’eaccesstothein. experimentedwtihvar-i JuneDemocracy- pandabsurdfilmpol-i fiml sth,eyarecaeldtheKo- enin1982I.nhisearly- whenonlyKorean- towardsthechange- Hepreferredcinema- diylchangingT.he6threv-i Theytreidtoreinterprethe- Hedirectedfilmssu-
Theyressitedtheshow- ousmethods. Movementa,nd- ceisnearyldestroyedthe- reanNewWave. daysh,edirectedafew- filmcompaniesim- sinKoreansoceitytha-t tciinterventoinintoreatilyfro- soinintheMotoinPciture- hsitorciaelventsthatwere- chasBlackRepub-
ingofFataAltractoinand- Andintermsofcon- mostofaal,fterprotestin- foundatoinofthefilmin- ParkKwangsudur- filmswithleadingfe- portedanddistrbiutedIn- continuedtoexpereince- maprogressiveposi- sActin1986liberalizingfor- consideredtaboodur- cil1(990w, inneroftheJudg-
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ALeBeegiCnnhera’s nGugidedtoo tnhegFilms of
Josh Slater Williams

A celebrated academic and novelist prior to his directing career, Lee Chang-dong came to filmmaking relatively late in life, making his first feature in
his forties. What unites all of his films is their extensive portraits of characters often at the mercy of circumstances beyond their control, be they societal
and historical developments in his native South Korea, debilitating illnesses, or some omnipresent force that seems out to get them. As evidenced in his
brilliant latest, Burning, Lee is unafraid to confront the ugliness of human nature. To celebrate the film’s release, we’ve put together a handy primer of
his previous directorial efforts.

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Green Fish (1997) Peppermint
Candy (1999)
Although his confident gangster
movie debut leans heavily on Lee’s epic second feature remains
familiar genre beats, Green Fish his most ambitious to date in terms
sees Lee concentrate on notions of of storytelling scope. Opening
family and his lead’s erratic mental with a man’s suicide on a railway
negotiations more than explosions bridge, the film jumps back in time
of violence. Rather than being across 20 years, showing what
lured by greed, lead Makdong brought Yong-ho (Sol Kyung-gu) to
(Han Suk-kyu), a naive young this point of desperation. Charting
man desperate for patriarchal in reverse his development from
acceptance, finds his way into a life idealistic student to military service
of crime after mandatory military to brutal police officer to abusive
service leads to no prospects upon married businessman, Lee doesn’t
his return home. Things inevitably seek to redeem Yong-ho or explain
go awry, but the exact nature of away his personal responsibility in
the film’s final gut-punch sequence some of his destruction, but instead
comes as a surprise; the first demonstrate how external forces in
example of Lee’s willingness to toy South Korea’s history – including
with viewers’ emotions. the massacre in the Gwangju
Uprising of 1980 – play their part in
the gradual corruption of citizens.
A raw work that’s like diving into a
festering wound. In a good way.

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Secret Sunshine Poetry (2010) Oasis (2002)
(2007)
Pre-Burning, this was Lee’s biggest It’s rare to find a film where
As with Burning and Haruki success in English-language almost no scene plays out like
Murakami, Secret Sunshine sees markets, following a 60-something you’re expecting it to, but such
Lee adapt an author (Chong-jun Yi) woman (Yun Jeong-hie) coping is the case with Oasis, in which
rather than present a screenplay with early stages Alzheimer’s Lee skates fearlessly between
entirely of his own creation. The disease and the discovery of a sentimental humanism and
first of two Lee films fully centred horrific family crime. Beautifully provocation. Hong Jong-du (Sol
on a female protagonist, this measured, it’s another example Kyung-gu again), an irresponsible
harrowing melodrama follows Lee of Lee’s skill with balancing quiet young man with a suggested
Shin-ae (Jeon Do-yeon, winner of indignation at societal injustices though never clarified mental
Best Actress at Cannes in 2007) as alongside a tender, nuanced illness, attempts to visit the widow
she relocates her life to the town character study. of the man he killed drunk-diving,
where her dead husband was born, only to meet her daughter, Han
with her very young son in tow. Gong-ju (Moon So-Ri in a Venice
As she struggles to adjust, another prize-winning performance), who
tragedy strikes, sending her into has cerebral palsy.
an emotional tailspin in a saga
that probes questions of faith, This is arguably Lee’s most
forgiveness and reconciliation. challenging work as he doesn’t
Jeon’s wrenching performance sanitise uncomfortable elements of
has earned deserved comparisons the love story, and the emotional
to Gena Rowlands in A Woman highs have dark undertones. That
Under the Influence. said, it’s possibly the hardest of
his films to shake off, and with
flourishes of magical realism –
Han Gong-ju seems to imagine
herself without her disorders;
Moon switching gears in the same
sustained shot – it’s also a stylistic
outlier in Lee’s career.

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Rebecca Ellis Ron Fricke’s 1992 documentary Baraka precedes an aeroplane soaring through
offers welcome cinematic relief in an age the sky, its engine’s roar piercing the film’s
Ron Fricke’s of special effects, superstars and pre- quietly hypnotic soundtrack.
panoramic global dictable, formulaic multiplex fodder. It
escapade from defies tired conventions in a refreshing This imagery signals a change in tone
1992 still offers a experiment which takes us on an epic for the film’s second chapter, a thematic
real feast for the visual voyage to see the wonders of the visual critique of modernity, the indus-
senses. world. Baraka presents a real, non–fic- trial revolution and the subsequent
tional wonderland just as enchanting as dehumanisation of the population. Work-
Hogwarts, as grand as the kingdom as ers on a production line and commuters
Gondor, but without the need for vast in transit depict a society engaged in the
swathes of CGI trickery. mundane and disengaged from each other
—figures in motion moving blurrily and
Presenting itself as ‘A world beyond busily without connection.
words’, the film steers away from tradi-
tional narrative techniques and instead Visually, Fricke casts a somewhat voy-
offers a thought-provoking, dialogue & euristic gaze upon the globe, his camera
plot free spectacle which speaks a lan- acting as a fascinated eye slowly survey-
guage that is entirely visual. Individual ing the scene in amazement. The film
frames weave a rich tapestry, captivating experiments with motion, using time-
the imagination. Michael Stearn’s stirring lapse photography to interrogate subjects
score ranges from a brooding groan to an from a new perspective. Frequently
operatic cry and serves to intensify Fric- photographed landmarks such as Ayers
ke’s atmospheric visuals. Rock are the Himalayas are transformed
into mystical creature-like forms.
Divided into three loosely connected
chapters, Baraka presents an appraisal of The organised chaos of a New York
the planet in terms of its natural history traffic jam is re-energised into a surreal
and human geography. It also explores and playful display of pattern and light.
Fricke’s pet theme of humanity’s rela- Moments of contemplative stillness
tionship to the eternal. The first and interject these frenzied flashes, capturing
final chapters present a kaleidoscopic an almost statuesque immobility in the
montage of both natural and human frequent intimate portraits of the human
spectacles, including an observation of race, from inner city commuters to medi-
world faith, religion and custom. What tative tribespeople.
distinguishes the two chapters is the
theme of evolution—showing man’s Whilst aesthetically absorbing, one
intervention with the planet. could be forgiven for, at times, feeling a
bemused speculation as to how all this
Perhaps the most interesting sec- imagery fits together. The film provides
tion comes mid-way through where the something of an alternate viewing expe-
initially utopian landscape is interrupted rience and one which requires effort,
by the destructive felling of a tree, which perseverance and imagination. But the
reward is truly mesmeric.

Barakaa film review

013

Rebecca Ellis

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What happens when you
take a cheap camera and
attach it to a helium
balloon and have it float
away across Berlin?

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One of “The World’s Coolest Film Festivals,” the
Disposable Film Festival cultivates and supports the
greatest film culture in history, which came about through
digital technology and the democratization of media.
Everyone has a camera now. And everyone has a chance
to make a great film. We show the masterpieces that are
innovating storytelling technique.

Celebrating over ten years of discovering the most
visionary filmmakers of the digital age, the Disposable Film
Festival brings the world’s best short films to the silver
screen. Through screenings, workshops, competitions,
panels, and other events intended to educate and inspire,
we promote the next wave of filmmakers to enter and
change the industry.

You can submit 24/7. You can watch online 24/7. And
once a year, in San Francisco, the Disposable Film Festival
screens the best films from around the globe. Then our
program travels the world.
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How did we start?
We started because, sometime around 2006, two friends,
Eric Slatkin and Carlton Evans, realized that anyone with
$20 and an idea could make a film. Low cost video was
here to stay because of the hundreds of devices that were
suddenly turning up everywhere. We decided that this was
something worth celebrating, so we started the Disposable
Film Festival – a real life showcase of the very best work
made by everyday folks with everyday technology.

What we are now?
We soon realized that once everyone had a camera, film had
changed forever. The bar to entry disappeared. That’s why
we’re dedicated to showing the best work made by the most
talented filmmakers that aren’t household names (yet).

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What was Sean Baker thinking when he decided to shoot
Tangerine, an 88-minute movie about a trans sex worker on
the war path, on an iPhone 5s? The film, which takes place in
Los Angeles on Christmas Eve, premiered at Sundance back
in January, and critics weren’t told that it was shot on a smart
phone until the credits rolled. Since then, press interviews
with Baker have been dominated by a handful of recurring
questions: How did you do it? Why? And what does this
mean for the future of movies?

He kept repeating variations on the same answers.
There were budgetary constraints; he’s made four previous
features but none of them were commercial hits. Shooting on
a phone allowed him to capture the grime and neon glow of
Hollywood without attracting crowds, and it put his perform-
ers at ease. The film’s two stars, Kitana Kiki Rodriguez and
Mya Taylor, whom Baker met through an LGBT community
centre, had no previous acting experience, and it’s true that
their performances are fantastic, full of warring charisma and
vulnerability. Baker has also spoken about the way that the
cameras allowed his crew to shoot easily in cars, circle and
track the actors on a bicycle, or chase them as they careened
down Santa Monica Boulevard.

There’s certainly an intoxicating energy that’s captured
in the film (thanks also to a trap soundtrack featuring the
relatively unknown New Jersey teenager DJ Lightup) but all
of the above would still be possible if Baker had kept his crew
minimal and shot quickly on a small, cheap video camera
– like a Blackmagic Micro, which fits in one hand, is only a
hundred bucks more expensive than a brand new iPhone,
and isn’t primarily designed for texting, snapchatting and
hailing an Uber.

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Chinese great Jia Zhangke is currently working the press
circuit for the upcoming US release of his latest feature,
Ash Is Purest White. Along with the usual interviews and
public appearances, he’s unveiled a minor new project
sure to give his profile a bump in visibility just in time for
a fresh picture.

His new short titled The Bucket focuses on a young
city-dweller visiting his rural family for the Lunar New
Year, and taking a full load of goodwill gifts with him back
to his urban home. On the return journey, he has to keep
a close eye on the large container with which his mother
sent him off, coming to view it as a symbol of a parent’s
enduring care and love.

Most notably, Jia shot the entire thing using only the
iPhone XS, meaning his short doubles as a showcase for the
fluid slow-motion capture and crisp definition of the camera.
He also composed a pair of spots highlighting the filmmaking
capabilities of Apple’s newest and shiniest gizmo yet, under-
scoring the commercial aspect of this particular work.

Such a nakedly sentimental, technology-forward en-
deavor may seem out of character for Jia, who not so long
ago suggested that Google Translate may be taking the place
of young sons in Chinese society. But he’s always been fas-
cinated by new frontiers and digital possibility, so perhaps
the prospect of keeping the production in his pocket proved
too tempting to pass up.

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