Paru le 06/09/2019 | Broché 127 pages
Tout public
translated from French by Valentine Leys
Lee Chang Dong's films question the status of the visible and the invisible, in a world saturated with images and information that oscillates between reality and fantasy, history and fiction.
Against a backdrop of social and political critique, his films explore the aesthetics of disappearance through the off-screen, and capture the loss of our memory of history and nature. His « perceptive » images create empathy with young adults as they grapple with existential despair, trapped in a hopeless world despite their rage.
Lee Chang-dong's films plays with cinematographic categories, concealing stories in nested narratives and chronological ellipses, or layering them into the soundtrack.
Halfway between fiction and a documentary testimony of our times, Lee Chang-dong invents a universe of images that appeal to perception and imagination by conjuring up the viewer's (invisible) mental images. Memory resurges to perceive a « little something » that blurs the contour of reality, while the world evaporates and disappears into the virtual.
Lee Chang-dong started his career as a successful writer before directing Green Fish (1997). His films include Peppermint Candy (2000), Oasis (2002), Secret Sunshine (2007), Poetry (2010) and Burning (2018, in the official selection of the Cannes Film Festival).
Véronique Bergen is a philosopher and a writer. Her work focuses on aesthetic issues, exploring among other angles the history of the forgotten, resistance and memory. She contributes to various magazines including Art Press et L'Art même.
Jean-Philippe Cazier is a writer and critic, and the co-editor of magazine Diacritik. His works include Theory of Multidreams published by Dis Voir (2017).
Antoine Coppola is a filmmaker and professor in film studies at Sungkyunkwan University in Seoul. He previously taught history and film aesthetics at KNUÀ (K'Arts), Korea's National University of the Arts. Coppola has been a critic for KBS World International since 2010. He worked as an advisor at the Cannes International Critics' Week and the San Sebastian International Film Festival. He is the author of Cinema Asiatique (Harmattan) and has written numerous articles on Korean cinema for journals Asialyst and Esprit.
