Non-linear Structure: A Tendency in Korean Independent Cinema PART.1

NEWS & REPORTS
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Feature

NEWS & REPORTS

Non-linear Structure: A Tendency in Korean Independent Cinema PART.1

May 09, 2018

Writerby LEE Yong Cheol
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How come Korean independent cinema has not seen a structural revolution?

In the history of cinema, films with a revolutionary structure have been around since the beginning. Normally, it is expected that a general structure comes first, which is then later overturned by a new approach. However, the invention of cinema in the late 19th century had little to do with the general ‘narrative structure’. Rather, cinematic development has come to define the narrative structure that audiences are familiar with. Now that we’re in the third century of the history of cinema, it may seem rather out of place to discuss films with a unique structure. Therefore, the scope of this essay is limited to Korean independent cinema in the 21st century. This gives rise to an important question: ‘How come Korean independent cinema has not seen a structural revolution?’ This seems particularly strange in comparison with other Asian countries. The Art Theatre Guild (AGT) which spearheaded the Japanese New Wave already had its heyday decades ago, and it’s been a long time since some remarkable, unique masterpieces came out from the Philippines and Thailand, two previously unknown lands in the world of international cinema. One of the biggest reasons for this gap is the Korean cinema’s fundamental failure to move away from realism. Secondly, because in the early days of Korean independent cinema the primary focus was very much on social reform and activism, stories inevitably took precedence over styles or themes. However, this is not to say that there are no films with an original structure in Korean independent cinema.

The Challenges of Korean Independent Cinema in the 21st Century

The works of brothers KIM Gok and KIM Sun, who began releasing short and feature films following the advent of the 21st century, are good examples. Of their many works including Geo-Lobotomy (2005) and Exhausted (2009), we must pay close attention to Capitalist Manifesto: Working Men of All Countries, Accumulate (2003). This film explores the reality of capitalism in Korea from a completely upturned perspective. Indeed, it reveals that even when upturned, the monster is known as capitalism remains the same. KIM Kyung-mook, the director of Faceless Things (2005) and Stateless Things (2012), was one of the pioneers of the technique known as ‘dividing a film into two’, where a film is divided into two (or sometimes more) sections in order for related things to be linked together. There are yet more names that we must mention. BAE Yong-kyoon has long been silent since releasing The People in White (1997), a film that depicts Korea’s early modern history from an exile’s point of view. ROH Gyeong-tae is best known for his works The Last Dining Table (2008) and Land of Scarecrows (2009), and the latter ventures into the unfamiliar subject matter of legacy and the environment. Under Hong Sangsoo’s influence, LEE Kwang-kuk created his own world in Romance Joe (2012) and A Matter of Interpretation (2015). KIM Dong-joo directed A Broom Becomes a Goldfish (2010), a crime thriller switching between reality and surrealism. Added to the list are documentary filmmakers whose recent works convey their concerns with aestheticism: LEE Kang-hyun, IM Heung-soon, and JUNG Jae-hoon.

Jane: Between Reality and Dream

Compared to the works by the directors mentioned above, Korean independent films of the last two or three years, though unique in structure, do not show revolutionary changes. If anything, they retain the energy derived from earlier masterpieces and form a happier relationship with both critics and audiences (For this reason, they can only be deemed to have generated ‘a tendency’ as mentioned in the title of the essay rather than a proper change). Upon its release last year, Jane (2017) attracted tens of thousands of viewers. The mixing of different times warns us from the start that it is not an easy film to watch. Divided into three main parts, this film is almost impossible to fully understand. The simplest interpretation would be to regard the first section as a fantasy, an extended vision of what the abandoned girl sees as she commits suicide. Yet the realistic and desperate portrayal of characters and incidents does not allow such a simplistic and empty interpretation of the film. The first part of the film links up with the second part to serve faithfully as ‘a lost paradise’. Even after we’ve managed to clarify the connections between these different parts, there are still missing pieces in the puzzle such as the development of events or the repeated appearances of some characters. Regardless, it is not difficult to figure out the theme of Jane: how can those regarded as outsiders even in the world of outsiders live on amongst strangers? They stand next to us as victims driven into corners by society’s violence, not as people who cannot be accepted. No other film befits the expression ‘sweet sorrow’ better. CHO Hyun-hoon conjures up a beautiful world by carrying out illogical, complex rituals.

Jamsil: A Visit from the Past

In Jamsil, the characters receive a visit from the past. This is the quickest way to explain how Sungsook and Mihee, two women almost ten years apart in age, meet for the first time. One day Mihee comes to Sungsook’s apartment and introduces herself as ‘a close friend from childhood’. While scenes in the past showing teenagers use warm, brownish colors, scenes in the present are boldly devoid of colors. Almost in monochrome, the present is cold and expressionless. Sungsook and her long-term boyfriend Ik-joo have drifted apart, and Mihee struggles to find the energy to keep going after studying for the national exam for over ten years. Where they live is as barren and empty as their lonely minds. A visit by Yooyoung from the past makes the three characters look anew at their passionless existence. Yooyoung intervenes with the three but it is never explained how that is done. Similarly, as if there were no order in the stepping stones of time placed far apart, the past and the present are mixed up. Having been swept up in time’s violence before, Sungsook and Mihee now set out to find their true selves in the midst of the confusing passage of time. The film concentrates on revealing the characters’ bare faces rather than presenting one incident after another. For this reason, the discussions and performances featured in the film do not contribute to the plot. Therefore, the film may seem unfriendly to those who prefer strong narratives. We can only travel to Jamsil by following the series of unexpected stories.

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