<div dir="ltr"><div class="gmail-a8nywdso gmail-j7796vcc gmail-rz4wbd8a gmail-l29c1vbm"><span class="gmail-d2edcug0 gmail-hpfvmrgz gmail-qv66sw1b gmail-c1et5uql gmail-oi732d6d gmail-ik7dh3pa gmail-ht8s03o8 gmail-a8c37x1j gmail-fe6kdd0r gmail-mau55g9w gmail-c8b282yb gmail-keod5gw0 gmail-nxhoafnm gmail-aigsh9s9 gmail-d3f4x2em gmail-iv3no6db gmail-jq4qci2q gmail-a3bd9o3v gmail-b1v8xokw gmail-oo9gr5id" dir="auto"><div class="gmail-bi6gxh9e"><span class="gmail-d2edcug0 gmail-hpfvmrgz gmail-qv66sw1b gmail-c1et5uql gmail-oi732d6d gmail-ik7dh3pa gmail-ht8s03o8 gmail-jq4qci2q gmail-a3bd9o3v gmail-b1v8xokw gmail-oo9gr5id">Dear Colleagues,</span></div><div class="gmail-bi6gxh9e"><span class="gmail-d2edcug0 gmail-hpfvmrgz gmail-qv66sw1b gmail-c1et5uql gmail-oi732d6d gmail-ik7dh3pa gmail-ht8s03o8 gmail-jq4qci2q gmail-a3bd9o3v gmail-b1v8xokw gmail-oo9gr5id"><br></span></div><div class="gmail-bi6gxh9e"><span class="gmail-d2edcug0 gmail-hpfvmrgz gmail-qv66sw1b gmail-c1et5uql gmail-oi732d6d gmail-ik7dh3pa gmail-ht8s03o8 gmail-jq4qci2q gmail-a3bd9o3v gmail-b1v8xokw gmail-oo9gr5id">The
East Asian Studies Program at Princeton University invites you to join
Professor Jihoon Kim’s talk. It will be held virtually on February 24 at
5:00pm EST.</span></div><div class="gmail-bi6gxh9e"><span class="gmail-d2edcug0 gmail-hpfvmrgz gmail-qv66sw1b gmail-c1et5uql gmail-oi732d6d gmail-ik7dh3pa gmail-ht8s03o8 gmail-jq4qci2q gmail-a3bd9o3v gmail-b1v8xokw gmail-oo9gr5id"><br></span></div><div class="gmail-bi6gxh9e"><span class="gmail-d2edcug0 gmail-hpfvmrgz gmail-qv66sw1b gmail-c1et5uql gmail-oi732d6d gmail-ik7dh3pa gmail-ht8s03o8 gmail-jq4qci2q gmail-a3bd9o3v gmail-b1v8xokw gmail-oo9gr5id">“The Subjunctive Mode, CGI, and Digital Editing: Documentaries on the Yongsan Massacre and the Sewol Ferry Disaster”</span></div><div class="gmail-bi6gxh9e"><span class="gmail-d2edcug0 gmail-hpfvmrgz gmail-qv66sw1b gmail-c1et5uql gmail-oi732d6d gmail-ik7dh3pa gmail-ht8s03o8 gmail-jq4qci2q gmail-a3bd9o3v gmail-b1v8xokw gmail-oo9gr5id">Jihoon Kim (Associate Professor of Cinema and Media Studies, Chung-ang University)</span></div><div class="gmail-bi6gxh9e"><span class="gmail-d2edcug0 gmail-hpfvmrgz gmail-qv66sw1b gmail-c1et5uql gmail-oi732d6d gmail-ik7dh3pa gmail-ht8s03o8 gmail-jq4qci2q gmail-a3bd9o3v gmail-b1v8xokw gmail-oo9gr5id">Discussant: Devin Fore (Professor of German, Princeton University)</span></div><div class="gmail-bi6gxh9e"><span class="gmail-d2edcug0 gmail-hpfvmrgz gmail-qv66sw1b gmail-c1et5uql gmail-oi732d6d gmail-ik7dh3pa gmail-ht8s03o8 gmail-jq4qci2q gmail-a3bd9o3v gmail-b1v8xokw gmail-oo9gr5id"><br></span></div><div class="gmail-bi6gxh9e"><span class="gmail-d2edcug0 gmail-hpfvmrgz gmail-qv66sw1b gmail-c1et5uql gmail-oi732d6d gmail-ik7dh3pa gmail-ht8s03o8 gmail-jq4qci2q gmail-a3bd9o3v gmail-b1v8xokw gmail-oo9gr5id">REGISTER HERE:</span></div><div class="gmail-bi6gxh9e"><span class="gmail-d2edcug0 gmail-hpfvmrgz gmail-qv66sw1b gmail-c1et5uql gmail-oi732d6d gmail-ik7dh3pa gmail-ht8s03o8 gmail-jq4qci2q gmail-a3bd9o3v gmail-b1v8xokw gmail-oo9gr5id"><span><a class="gmail-oajrlxb2 gmail-g5ia77u1 gmail-qu0x051f esr5mh6w e9989ue4 gmail-r7d6kgcz gmail-rq0escxv gmail-nhd2j8a9 gmail-nc684nl6 gmail-p7hjln8o gmail-kvgmc6g5 gmail-cxmmr5t8 gmail-oygrvhab gmail-hcukyx3x gmail-jb3vyjys gmail-rz4wbd8a gmail-qt6c0cv9 gmail-a8nywdso gmail-i1ao9s8h esuyzwwr gmail-f1sip0of gmail-lzcic4wl gmail-gpro0wi8 gmail-py34i1dx" href="https://princeton.zoom.us/meeting/register/tJwod-qtqj8sHNV6RsHuiULLkZ8-77zB-afp?fbclid=IwAR3blpKxU8sata_26MNIE3QNdmrtaro8xv_fNBbQzn7RrB1elKc-lDddoYo" rel="nofollow noopener" role="link" tabindex="0" target="_blank">https://princeton.zoom.us/.../tJwod-qtqj8sHNV6RsHuiULLkZ8...</a></span></span></div><div class="gmail-bi6gxh9e"><span class="gmail-d2edcug0 gmail-hpfvmrgz gmail-qv66sw1b gmail-c1et5uql gmail-oi732d6d gmail-ik7dh3pa gmail-ht8s03o8 gmail-jq4qci2q gmail-a3bd9o3v gmail-b1v8xokw gmail-oo9gr5id">(Zoom link will be emailed upon registration)</span></div><div class="gmail-bi6gxh9e"><span class="gmail-d2edcug0 gmail-hpfvmrgz gmail-qv66sw1b gmail-c1et5uql gmail-oi732d6d gmail-ik7dh3pa gmail-ht8s03o8 gmail-jq4qci2q gmail-a3bd9o3v gmail-b1v8xokw gmail-oo9gr5id"><br></span></div><div class="gmail-bi6gxh9e"><span class="gmail-d2edcug0 gmail-hpfvmrgz gmail-qv66sw1b gmail-c1et5uql gmail-oi732d6d gmail-ik7dh3pa gmail-ht8s03o8 gmail-jq4qci2q gmail-a3bd9o3v gmail-b1v8xokw gmail-oo9gr5id">This
talk discusses the applications of computer-generated imagery (CGI) and
digital non-linear editing to three documentaries in the 2010s on
social events that profoundly impacted contemporary South Korean
society, including the Yongsan Massacre in 2009 (<i>Two Doors/ Tu kaeŭi
mun</i>, Kim Il-ran and Hong Ji-yoo, 2012) and the Sewol Ferry disaster in
2014 (The <i>Intention</i> [<i>Kŭnal, pada</i>, Kim Ji-yeong, 2018] and <i>Ghost Ship</i>
[<i>Yuryŏngsŏn</i>, Kim Ji-yeong, 2020]). It argues for two more significant
contributions of the films to Korean nonfiction filmmaking and its
commitment to the Korean society’s contested reality and politics.
First, the films attest to the formal and aesthetic expansion of
documentary practice in the 21st century— and, by extension, to its
production of reality and truth— in ways that are irreducible to the
verité mode of the 1980s and 90s. And second, more than asserting the
disavowal of the objective truth, the digital images and techniques
employed in the films are used to scientifically investigate and
reconstruct the events beyond the camera’s record for the sake of
unveiling their truths. In order to demonstrate these two points, I
examine the uses of digital imagery and technique in the three films in
the light of how they mobilize what Mark J. P. Wolf has called
‘subjunctive mode,’ a subgenre of the documentary “concerned with what
could be, would be, or might have been.” In so doing, I also
contextualize the application of this mode to the post-verité Korean
documentaries within the global trend of digital documentaries
(exemplified by the works of Errol Morris and Forensic Architecture)
based on the archival, databased, and algorithmic approaches to photos
and videos whose evidentiary value is dismantled but which nevertheless
demand viewing from every possible angle.</span></div><div class="gmail-bi6gxh9e"><span class="gmail-d2edcug0 gmail-hpfvmrgz gmail-qv66sw1b gmail-c1et5uql gmail-oi732d6d gmail-ik7dh3pa gmail-ht8s03o8 gmail-jq4qci2q gmail-a3bd9o3v gmail-b1v8xokw gmail-oo9gr5id"><br></span></div><div class="gmail-bi6gxh9e"><span class="gmail-d2edcug0 gmail-hpfvmrgz gmail-qv66sw1b gmail-c1et5uql gmail-oi732d6d gmail-ik7dh3pa gmail-ht8s03o8 gmail-jq4qci2q gmail-a3bd9o3v gmail-b1v8xokw gmail-oo9gr5id"><strong>Jihoon Kim</strong> (<a href="http://chungang.academia.edu/JKIM">chungang.academia.edu/JKIM</a>) is associate professor of cinema and media studies at Chung-ang University. He is the author of <em>Documentary’s Expanded Fields: New Media and the Twenty-First-Century Documentary</em> (Oxford UP, 2022) and <em>Between Film, Video, and the Digital: Hybrid Moving Images in the Post-media Age</em> (Bloomsbury, 2018/16). He is also finalizing <em><span><span><span><span>Activism and Post-activism: Korean Documentary Cinema</span></span></span></span></em>,
<i>1982-2021</i>, the first-ever English-written scholarly monograph on the Korean
nonfiction film and video in the private and independent sectors since the 1980s.</span></div><div class="gmail-bi6gxh9e"><span class="gmail-d2edcug0 gmail-hpfvmrgz gmail-qv66sw1b gmail-c1et5uql gmail-oi732d6d gmail-ik7dh3pa gmail-ht8s03o8 gmail-jq4qci2q gmail-a3bd9o3v gmail-b1v8xokw gmail-oo9gr5id"><br></span></div><div class="gmail-bi6gxh9e"><span class="gmail-d2edcug0 gmail-hpfvmrgz gmail-qv66sw1b gmail-c1et5uql gmail-oi732d6d gmail-ik7dh3pa gmail-ht8s03o8 gmail-jq4qci2q gmail-a3bd9o3v gmail-b1v8xokw gmail-oo9gr5id"><br></span></div></span></div><div><div dir="ltr" class="gmail_signature" data-smartmail="gmail_signature"><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div>Jihoon Kim, Ph.D<br><b><i>Documentary's Expanded Fields: New Media and the Twenty-First-Century Documentary </i></b>(Oxford University Press, 2022).</div><div><a href="https://global.oup.com/academic/product/documentarys-expanded-fields-9780197603826?prevSortField=1&sortField=8&resultsPerPage=20&lang=en&cc=us" target="_blank">https://global.oup.com/academic/product/documentarys-expanded-fields-9780197603826?prevSortField=1&sortField=8&resultsPerPage=20&lang=en&cc=us</a><br></div><div><b><i>Between Film, Video, and the Digital: Hybrid Moving Images in the Post-media Age</i></b><b> </b>(Bloomsbury Academic, 2018/16).<i> </i><br><a href="http://www.bloomsbury.com/us/between-film-video-and-the-digital-9781628922912/" target="_blank">http://www.bloomsbury.com/us/between-film-video-and-the-digital-9781628922912/</a><br clear="all"></div><div><br>Associate Professor, Cinema and Media Studies<br>Department of Film Studies<br>Chung-ang University<br></div><div>website: <a href="http://chungang.academia.edu/JKIM" target="_blank">chungang.academia.edu/JKIM</a><br></div><br></div></div></div></div></div></div></div></div>