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The Audiovisual Turn of Recent Korean Documentary Cinema: The Time-Image, Place, and Landscape

The Audiovisual Turn of Recent Korean Documentary Cinema: The Time-Image, Place, and Landscape This article discusses several documentary films since the 2010s that portray the place and the landscape related to Korea's social reality or a personal or collective memory of its past, classifying their common trope as the “audiovisual turn.” The trope refers to the uses of the poetic and aesthetic techniques to highlight the visual and auditory qualities of the images that mediate the landscape or the place. This article argues that the films’ experiments with these techniques mark formal and epistemological breaks with the expository and participatory modes of the traditional Korean activist documentary, as they create an array of Deleuzian time-images in which a social place or natural landscape is reconfigured as the cinematic space liberated from a linear time and layered with the imbrication of the present and the past. The images, however, are read as updating the activist documentary's commitment to politics and history, as they renew the viewer's sensory and affective awareness of the place and the landscape and thereby render them ruins. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png positions Duke University Press

The Audiovisual Turn of Recent Korean Documentary Cinema: The Time-Image, Place, and Landscape

positions , Volume 30 (1) – Feb 1, 2022

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Copyright
Copyright 2022 by Duke University Press
ISSN
1067-9847
eISSN
1527-8271
DOI
10.1215/10679847-9418020
Publisher site
See Article on Publisher Site

Abstract

This article discusses several documentary films since the 2010s that portray the place and the landscape related to Korea's social reality or a personal or collective memory of its past, classifying their common trope as the “audiovisual turn.” The trope refers to the uses of the poetic and aesthetic techniques to highlight the visual and auditory qualities of the images that mediate the landscape or the place. This article argues that the films’ experiments with these techniques mark formal and epistemological breaks with the expository and participatory modes of the traditional Korean activist documentary, as they create an array of Deleuzian time-images in which a social place or natural landscape is reconfigured as the cinematic space liberated from a linear time and layered with the imbrication of the present and the past. The images, however, are read as updating the activist documentary's commitment to politics and history, as they renew the viewer's sensory and affective awareness of the place and the landscape and thereby render them ruins.

Journal

positionsDuke University Press

Published: Feb 1, 2022

References