From ghost film to the film as ghost: The realist paradigm and beyond in Korean horror

Title:

From ghost film to the film as ghost: The realist paradigm and beyond in Korean horror

Creator:

Seung-hoon, Jeong

Identifier:

https://cdk.lib.cas.cz/client/handle/uuid:ecbdda57-9590-47fc-bcda-1f6e57e97068
uuid:ecbdda57-9590-47fc-bcda-1f6e57e97068

Type:

model:article and TEXT

Format:

bez média and svazek

Description:

Korean cinema has mainly been constructed on the realist paradigm of classical mimesis and probability of diegesis, which refers to the socio-political reality of Korea. Even fantasy has been represented as clearly marked but still subordinated to conventional film language that easily works in favor of reality. Though exploring the fantastic, Korean ghost film has repeated this paradigm, which has also determined academic approaches to the genre. Psychoanalysis has particularly interpreted the female ghost as the return of repressed sexuality/identity, as well as repressed pre-modernity. However, some auteurist films with ghost motifs such as Memento Mori, Blood Rain, Sorum, and Spider Forest little by little have questioned the established model, until 3-Iron can be seen as stepping into a different ontological dimension via an unconventional ghost-shadow. These films leave room for a more radical approach to subjectivity than psychoanalysis, for the ontological look at the ghost and the image at once, and finally for escape from classical norms of the realist paradigm. The task of this paper is therefore to draw a “line of flight” from psychoanalysis to ontology, a line which parallels that of the realist paradigm to the beyond. Such deterritorialization of the ghost genre allows us to expect not a ghost film, but a film as a ghost in the context of Asian horror and post-classical paradigm.

Language:

English

Rights:

http://creativecommons.org/publicdomain/mark/1.0/
policy:public

Source:

Archiv orientální | 2008 Volume:76 | Number:2

Harvested from:

CDK

Metadata only:

false