May 5, 2009

The 11th Udine Far East Film Festival- Final Report

Filed under: Uncategorized — Q @ 11:34 am

* This portion of the report is written by and copyrighted to Darcy Paquet.

The FEFF has concluded on May 2. Two Korean directors arrived at Udine during the second half of the festival to present their films. Kim Jee-woon introduced his latest film The Good, the Bad, the Weird to a crowd seemingly already familiar with his works (His wrestling comedy Foul King was the winner of the audience award at Udine). In some ways the biggest star at the festival, director Kim not only gave a generous stage greeting, confessing his love for Italian cinema, but also participated in a panel devoted to Korean cinema, followed by a press conference with enthusiastic local journalists. Although somewhat reserved by nature, Kim’s sense of humor and love of cinema were apparent in the sincere and detailed answers he gave to all questions fielded to him. The version of The Good played at Udine was a slightly trimmed international print, which Kim himself professed to like better. Some of the trims involve the Jeong Woo-sung character’s involvement with the Korean independence army, making his initial appearance much stronger. The Japanese troops in the climax also causes less potential confusion for the logistically-minded viewers in this version. The loud and kinetic film was greeted warmly by the viewers, who clapped and cheered at the end of the film (As is common when the director is present).

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The second director who flew in from Korea was Kang Hyoung-chul, introducing his domestic box-office hit Scandal Makers, together with the producer Lee An-na. Scandal Makers had a difficult beginning, rejected by many companies during its scenario stage, but the debut film proved skeptics wrong and became the biggest comedy hit in Korean film history (8.3 million tickets sold). Despite its smashing success at home, both the director and producer admitted to being a bit nervous about whether its smart dialogue and comic situations would be appreciated by Udine’s predominantly European audience. They needn’t have worried: 1,300-strong Udine viewers roared with laughter at virtually all of the film’s physical and verbal gags (except for one funny bit: a scene at the pre-school where the child actor Wang Seok-hyun’s sitting in a posture of a very old woman, which would have had a Korean viewer in stitches). The audience reaction was in keeping with a very interesting trend of the Udine viewers embracing Korean comedies, which many Korean critics assume cannot really work outside their own culture. Koreans should seriously re-examine their conviction that their culture is so unique and therefore incomprehensible to the outsiders: foreigners do get your jokes (if they are well done)! Ultimately among the 50-plus contemporary features screened at Udine, Scandal Makers received the second highest audience rating, giving the director a nice trophy to take home. The top honor went to Departures, the sincere Japanese drama (and a Oscar foreign film award winner) starring Motoki Masayuki.

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Audience Award rankings:

1. Departures (Japan)  4.57 out of 5

2. Scandal Makers (South Korea)  4.36 out of 5

3. The Rainbow Troops (Indonesia)  4.22 out of 5

Black Dragon Award rankings:

1. Departures (Japan)  4.71 out of 5

2. 4BIA (Thailand)   4.18 out of 5

3. Connected (Hong Kong) 4.04 out of 5

MyMovies Audience Award (voted through the www.Mymovies.it website)

1. One Million Yen Girl (Japan)

Udine allows the kind of Korean films often ignored by the so-called “big” international film festivals like Cannes, Berlin and Toronto—usually mid-level commercial productions in genres like comedy, melodrama and period piece—to prove their mettle to non-Korean viewers. This year I was very lucky to procure all of my top choices. Next year it might be a little more difficult, considering that precisely this type of films were hardest hit by the economic downturn. Udine FEFF still remains one of the best opportunities outside Korea to appreciate the full range, the genuine diversity, of Korean commercial cinema, and also to see Korean productions in the broader context of Asian cinema.

May 3, 2009

The 11th Udine Far East Film Festival Report- Personal Impressions

Filed under: Uncategorized — Q @ 6:37 pm

As Darcy returns from Udine, we will have a concluding portion of the festival report on these pages or at the koreanfilm.org homepage. Here I would like to upload more personal observations about the festival and the environment surrounding it.

To wit, I heartily recommend any enthusiast of Asian cinema anywhere in the world to support the Udine Film Festival. It’s thoroughly unpretentious– the selections are done not on the category of whether the movies “measure up” to the European critical/intellectual standards of what constitute an important work of art, about which I have developed some serious misgivings in recent years, but done by the regional specialists– Mark Schilling for Japan, Roger Garcia for Philippines, and so on– with a good understanding of the popular culture traditions of a particular country (including “vulgar” and “cultish” elements thereof)– and since there is only one big theater and each film is shown only once, all screenings draw at least some fans or enthusiasts, rather than bored media reporters nodding off due to busy schedule (Yes, this means lining up for long hours or risking your tickets from being sold out for particularly popular entries, but this also means not having to worry about schedule conflicts or huffing and puffing and running from one screening multiplex to another like one of the little pigs escaping a big bad wolf).

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© Kyu Hyun Kim
Teatro Nuovo Giovanni not quite dressed up on the afternoon of April 23…

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…and in full regalia during the festival.

By the way, this does not mean that Udine does not pay attention to the press coverage. Teatro Nuovo Giovanni’s press room was one of the best I have ever used at a film festival, complete with widely spaced seats and huge Mac monitors. (I did have some problem adjusting to the European language keyboard system!)

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Udine FEFF’s press workroom.

As someone whose mood is strongly affected by visual cues, I was enormously reassured by the fact that visual designs of everything Italian– or maybe just around Udine– were so pleasant to my eyes. Even water switches of bathroom stalls looked completely different– soft and curved– from drably functional metal knobs found in Korea and the U.S.

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© Kyu Hyun Kim

A lot of beautiful things surround those who live in Italy, some very very old, others new and cutting-edge. No wonder Italian filmmakers and cinematographers are so good at capturing shapes and colors.

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© Kyu Hyun Kim

The festival operation was pleasanty human-scale and a comfortable mixture of fan enthusiasm and public professionalism at all points. Of course, I have committed several trials and errors as first-time attendees (and first-time travelers to Italy): one of which was to assume we could exchange Korean won to Euros in any Udine bank! It turned out that in Venice there was currency exchange shop in practically every street corner, but not in Udine. By the way I loved the Udine “dragon cars” that whoosh V.I.Ps and guests from one location to another. They are fast and furious!

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© Kyu Hyun Kim

I particularly want to thank two Korean helpers who were indispensable to the Korean guests at Udine, Lee Sandra (Seung-Eun) and Park So-Mi. A big dirigible of thanks sent off to you two! Seung-Eun, thank you so much for taking care of my wife! These young Koreans, especially women, multilingual, multicultural, adventurous yet considerate, surely are going to make nationalist-educated blockheads of my generation (like myself) obsolete pretty soon, and that be a good thing. That be a very very good thing!

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Sandra (Seung-Eun, center) and So-Mi (right) with another Udine staff.*

All pictures used for the 11th Udine Far East Film Festival Report are copyrighted to the Udine FEFF office, unless otherwise noted.

April 30, 2009

The 11th Udine Far East Film Festival Report- Part 2

Filed under: Uncategorized — Q @ 8:59 pm

The Udine viewers whooped and applauded The Beast Stalker, Dante Lam’s taut crime thriller with an unexpectedly thoughtful approach to characterizations. Neither its English title, which suggests a variant of a Silence of the Lambs-like serial-killer-vs.-cop suspenser, nor its Chinese title, simply “a witness,” leading one to expect a courtroom procedural, accurately describes this ultimately improbable but powerful film. It shares some plot points with the slick Korean suspenser Seven Days, but taken as a whole it reminds one more of Park Chan-wook’s Sympathy for Mr. Vengeance and JSA, especially its characters desperately struggling against Job-like twists of fate and trying to surivive the crushing weight of guilt and obsession. Nicholas Tse plays a straight-laced detective Tong, whose pursuit of a career criminal results in a terrible car crash and a shoot-out, partially maiming his partner and killing a young girl. Nearly unhinged by guilt, Tong becomes obsessed with protecting young girl’s mother, a prosecuting attorney (Zhang Jingchu), and her remaining child. When the latter is kidnapped by a mysterious hitman Hung (Nick Cheung), hired by the criminal’s underlings seeking to sabotage the prosecution’s case, Tong goes after him with the unofficial help from his former teammates.

The Beast Stalker has a terrific rhythm and sweeps the viewers along with an explosive adrenalin rush of its high-caliber action sequences, buttressed by ingenious sound design and superb editing job, but what distinguishes it from other above-average Hong Kong actioners is its resolute focus on the characters. Perhaps most surprisingly, Nick Cheung’s intimidatingly scarred kidnapper, slowly going blind and showing great devotion to his paralyzed wife (Miao Pu), turns out to be the most intriguing figure in the film. Director Lam manages to keep us in great suspence regarding Hung’s moral capacity, in the end making us care about him, without making us ever forget how evil he is. Nick Cheung, on his part, rises to the occasion by giving a splendidly restrained performance, cold and menacing when needed, but also making us see Hung’s numbing despair. The film’s major weak link is Zhang Jingchu’s barrister, reduced to a weepily repentant “career woman.” I found Miao Pu’s performance much more affecting, especially given that the only tools available to her were her eyes. The Beast Stalker is not perfect: it lacks the kind of auteurial elegance and ironic sense of humor found in a high-end Johnny To film, and as I mentioned above, the plot contrivances in the end stretches credibility to the breaking point. Yet, it has a virtue that other popular—and possibly better-made– actioners like The Breaking News lack—a deep engagement with the moral struggles of the characters, that aspires to the plain of Kurosawa-like hard-boiled humanism.

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Nick Cheung (left ) and Dante Lam (right) respond to the enthusiastic fans prior to the screening.

Not nearly as gloriously received but nonetheless showered with appreciation was Prachya Pinkaew’s Chocolate, starring the pixie-like dynamo Jeeja Yanin as a half-Japanese autistic teenager capable of mimicking any martial arts move she observes on TV, on the training ground, etc., turning her into a mean fighting machine. Chocolate is a great fun: in my estimation, far more enjoyable than Ong Bak. Some hardcore martial arts film fans might derisively chuckle at it, saying, why, it’s nothing more than a crude rip-off of Quentin Tarantino’s Kill Bill, further whacked out by weirdly synthetic takes on the conventions of Japanese yakuza films and girl’s comics, not to mention an almost hilariously bald hommages to Bruce Lee, especially his early flick The Big Boss. There’s some truth to that observation, but crude or not, Chocolate is delectable: it retains wit and charm crushed flat by the rampaging bull elephants in Ong Bak 2.

Channeling Bruce Lee’s charisma, the film nonetheless relies on a tried-and-true Jacky Chan template of staging physically punishing acrobatic action sequences one after another, each phase upping the ante until the suitably jaw-dropping climax (It even runs end credits over the footage of Jeeja and other actors running into various cringe-inducing real-life accidents). What makes it all work is Jeeja Yanin at the center: perky but not saccharine, always fully present, never mugging for camera.  I hope she gets chances to appear in non-Thai films as well. Sure, she is not a model-like beauty but who cares? I would rather see her than Jeon Ji-hyun as pouty Saya in the screen adaption of Blood: The Last Vampire.

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On the other hand, the Udine viewer’s response to Yu Ha’s Frozen Flower was decidedly mixed. More than a few viewers seem to have been bothered by the plot that seemingly condones negative stereotyping of gay characters: not only does the king’s (Joo Jin-mo) love for his beautiful guard become possessive and manipulative, but the guard in question, Hong Rim (Zo In-sung), couples with the rightly insulted queen (Song Ji-hyo) under the order from the king (They have to produce an heir for political reasons), only to have their ”relationship” develop into a full-blown romance, implying that his “gay tendencies” have been “cured” by a heterosexual encounter.

Frozen Flower has other problems. Despite upscale production values and technical acumen, the Koryo kingdom depicted in the movie does not look lived-in: the costumes—even underwear—are just too darn colorful, and the palace grounds look like rock concert stages rather than a medieval court. (However, the musical interludes in which the king and the queen each sings a Koryo-period song are rather nice. We never get to see crooning royals in a historical drama set in Joseon dynasty!) The music samples classical chestnuts yet again for a period piece (this time it’s Brahms): there really should be a ban on the practice by now. The martial arts choreography is boring and turgid. All in all, it is obvious that Yu Ha has not mastered conventions and tools of the period piece as well as those of an urban crime drama (A Dirty Carnival) or a coming-of-age autobiography (Once Upon a Time in High School).

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Yet, Frozen Flower does exert considerable power as a passionate melodrama. The best performance is given by Song Ji-hyo (Wishing Stairs): like her big, gleaming eyes that fill to the brim with tears but never overflows, she tightly controls her emotional expression and sustains the queen’s dignity. Joo Jin-mo handles the character of an ultimately unsympathetic king with skills as well. On the other hand, Zo In-sung’s performance is uneven: at some points he looks merely uncomfortable rather than internally conflicted. Zo fans will probably have mixed reactions to the way his character is essentially reduced to an object of passion—sexual or otherwise—by two headstrong royals. Even though seriously flawed, Frozen Flower is an interesting addition to the filmography of all concerned, and a laudable effort to open some new grounds for Korean cinema.

April 27, 2009

The 11th Udine Far East Film Festival Report- Part 1

Filed under: Uncategorized — Q @ 1:54 am

Udine Far East Film Festival, exclusively devoted to Asian cinema, is now entering its eleventh year. It is the most important exhibition site for East Asian and Southeast Asian films in Europe, other than the Deauville Film Festival held in France. Originally programmed to showcase one national cinema per year, since its conversion to first Hong Kong and later Asian cinema as a whole in 1990s, Udine has drawn industry specialists, critics, journalists and most significantly enthusiastic viewers from all over Western Europe. While Udine is a pleasantly small-scaled city with beautiful churches, friendly people and extraordinarily good wine and food, the FEFF takes place in the large, gleaming and coolly angular Teatro Nuovo Giovanni. Most screenings are packed with highly enthusiastic audience, a good deal of them local Italian speakers from all walks of life and a whole gamut of generations. And the FEFF usually has something to offer to almost everyone. While the cornerstone of the festival remains muscular martial arts/action film, every stripe of Asian cinema, with the possible exception of the experimental and avant-garde, is offered: one can usually find a film that speaks to his or her taste, no matter how “exotic.” The die-hard kung fu film enthusiasts, the obsessive otakus in the lookout for the next mind-twister from a Miike Takashi or a Sono Sion, the unabashed romantics craving for a three-hankie melodrama fix, or the cinematic adventurers seeking the envelope-pushing visions of horror and dark fantasy can all happily find their niches in Udine.

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Thanks to the longstanding effort from Darcy, who has been serving as a South Korean cinema programmer for seven years, Korean cinema has always been well-represented in the FEFF. Despite industry-wide difficulties in 2008, analyzed in the program notes by Darcy Paquet and Ryan Law, this year’s K-film selections illustrate the diversity and strengths of individual filmmaker’s visions fairly well. Aside from what is expected to be a crowd-pleasing unveiling of The Good, the Bad, the Weird, with director Kim Ji-woon attending as a special guest, some of 2008’s most critically lauded works (My Dear Enemy, Crush and Blush) and robust commercial hits (Scandal Makers, Rough Cut) are to be unleashed upon the European fans. Choe Equan’s animation film Life is Cool, Ryu Jang-ha’s quirky melodrama Hello Schoolgirl and the Kim Ok-bin vehicle Accidental Gangster are also included. I am personally most interested in the (European) audience response to Yoo Ha’s Frozen Flower, a different kind of Asian period piece. I assume most European viewers are unfamiliar with some interesting facts of Korean history such as that the Koryo King Gongmin-wang used to keep a harem of beautiful boys for personal pleasure, and was eventually assassinated by one of them– some of which do appear, albeit in a highly fictionalized form, in the movie. I wish more filmmakers would tackle the medieval Korean history, as its non-Confucian, non-moralistic milieu is yet to be captured convincingly in Korean cinema.

The opening night gala, attended by a thousand-and-plus very excited and happy fans (Teatro Nuovo being capable of seating 1,400 viewers), introduced major guests– Kim Dong-ho, the veteran festival director who put Pusan Film Festival on the global map: Ann Hui, whose TV works are being honored in a sidebar program: Parchya Pinkaew and Panna Rittikrai, the producer-director team behind the Muay Thai action extravaganzas: and Dante Lam and Nick Cheung, the director and star of another highly anticipated Hong Kong thriller The Beast Stalker. Unfortunately the opening film was less than an optimal choice. Considering the FEFF’s leanings, it was not surprising to see the over-produced martial arts “epic” Ong Bak 2 opening the festival. The sequel-in-name-only is a wall-to-wall martial arts action with virtually no plot exposition or character development. Set in 15th century Thailand, the movie is like a bizarrely dour version of Conan the Barbarian (if it’s possible to imagine a sword-and-sandal fantasy any dourer than the original Conan).

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It’s obviously intended as a franchise pilot for Tony Jaa, complete with a (pretty deflating) cliffhanger ending, but I can’t see anyone except the most undiscriminating Muay Thai fans warming up to the movie’s utter lack of charm and mind-numbing repetition of boxing bouts. The episodes involving the teenage years of the protagonist Tien, played by Natdanai Kongthong, amounting to a total of maybe twenty minutes or so, give the film some desperately needed breathing room, but Tony Jaa as the adult Tien is, I think there is no charitable way to put it, simply terrible. But for me the most problematic element of Ong Bak 2 is that, in its desire to elevate Tony Jaa into the new global star status, it abandons the homespun virtues that made the original Ong Bak attractive in the first place.  It is pretty painful to see Jaa trying to best Bruce Lee and Jacky Chan at their own games and failing miserably, at one point rather ungracefully swishing a three-segmented nunchaku against black-clad ninja assassins dressed up like Goth metal rockers. The FEFF should have chosen Chocolate– stuck in a midnight screening– as the opening film instead, a much more persuasive evidence for an optimistic future of Thai action cinema.

The 11th FEFF is turning out to be a banner year for Indonesian cinema. Like Korean films, the roster from the country, which boasts a robust and long history of eye-poppingly energetic local exploitation films (well known to fans of the Mondo Macabro DVD label), is strikingly diverse genre-wise and also in terms of political positions. The Rainbow Troops appears to be an inspiring children’s film in praise of Islamic educational institutions, while the hot young turk Joko Anwar’s Forbidden Door is a metaphysically complicated thriller with direct reference to David Lynch. Horror is represented by Fiction. (The title comes wth the period) and Takut: Faces of Fear, praised by the Udine programmer Paolo Bertolin as possibly the best Indonesian film of 2008.

Chants of Lotus, which I managed to catch in a surprisingly well-attended 9 am screening, is an omnibus film consisting of four shorts helmed by four women directors, Fatima T. Rony, Upi, Nia Dinata and Lasja F. Susatyo. The shorts cover a range of socially relevant topics, focusing on the abuses heaped on women: abortion, abuse of the mentally handicapped, hypocrisies of the legal system that privileges patriarchy and condones machismo, teen pregnancy, child molestation and even intolerance towards AIDS patients. Nothing terribly insightful or cinematically innovative takes place in Chants of Lotus, even though the elemental sentimentalism and undeniable horrors of women’s suffering do strike emotional chords, especially among sympathetic female viewers. The best segment is probably Upi’s “Chant from a Tourist City,” which shows uniform-clad teenagers clearly operating in a Muslim society—including those dutifully wearing hijabs– yet engaged in shockingly open and frank conversations (and behaviors) regarding sexuality. In this and “Chant from Jakarta,” the extraordinary, almost intimidating Eurasian beauty of the actresses– Kirana Larasati and Susan Bachtiar in particular– actually work against the rather simplistic nature of the stories being told. Apparently in 2008 the Indonesian government decided to strengthen censorship against public depiction of nudity and sexual situations: one can only hope that feminist visions of women filmmakers like Nia Dinata and Upi do not fall victim to such a conservative turn in the near future.

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Coming up next: A powerful Hong Kong actioner garners much praise and the audience response to The Frozen Flower!

March 1, 2009

Magic and mystery are not gone: An interview with Professor Michael Saler

Filed under: interviews — Q @ 9:32 am

As I have promised, the interview section is moving ahead, albeit very slowly. I am very fortunate to have one of my esteemed colleagues at University of California, Davis, Professor Michael T. Saler, for a brief sit-down to discuss our mutual interest and his latest works.

Professor Saler received his joint Ph. D. in History and Humanities at Stanford University in 1992 and has been teaching modern European intellectual history, with a focus on British history, at UCD. Professor Saler has authored The Avant-Garde in Interwar England: Medieval Modernism and the London Underground (Oxford University Press, 1999), and has contributed numerous articles and book reviews on a wide range of intriguing topics, including the significance of fan fiction, the Protestantism of John Le Carré and a historiographic review of modernity and enchantment in European history. Despite our killer schedules, we managed to convene at Saul’s, the old Noo Yohk style deli and one of the favorite haunts of transplanted East Coasters at Berkeley, for a pleasant afternoon chat.  We are both huge fans of science fiction (Michael has definitely read more mystery– British ones, too– than I have. His knowledge and expertise in this area are amazing), so the topic naturally gravitated toward its past and future.

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Q (Kyu Hyun Kim): Let’s start from the issues closer to our, shall we say, day jobs. Would you say that mass culture is now altogether legitimate topic for study in our professions?

 S (Michael Saler): I think we should still approach it with some caution; some disciplines are more open to it than others. But, on the whole, the academy doesn’t marginalize mass culture in the way it did only a generation ago.

Q: Do you think there is actually a clear distinction between fandom and academic researchers?

S: The most sophisticated level of fandom, of genre literature anyway, is not necessarily concerned with the theoretical approaches. But otherwise, sure, the level of scholarship is very high. Look at, say, H. P. Lovecraft scholarship coming out from the Necronomicon and Hippocampus Presses, among others. I believe Lovecraft’s books render themselves rather nicely to complex theoretical interpretations. Cultural Studies and American Studies have been at the forefront of studying mass culture, like comic books, and the best of them combine empirical research and theoretical reflections.

Q: Do you see any meaningful change in the canonization process over the years?

S: Sure, I do. To give you an example, I was able to write a review of Michael Chabon’s Maps and Legends for Times Literary Supplement. [which can be found here and ends with a provocative quotation from Chabon: “All literature, highbrow or low, from Aeneid onward, is fan fiction.”] I mean, graphic novels, if not all forms of comic books, are clearly taken much more seriously now.  New York Times and other mainstream newspapers and newsmagazines have been reviewing graphic novels and computer games for some time now. This is driven by a demographic change which is in many ways global and frankly irresistible.

Q: Can I inquire about your take of science fiction as a modern literary genre?

S: I see science fiction as representing specific forms of “modern enchantment.” What I mean by this is that science, secularism and other traits of the modern world are re-imagined by these works as something marvelous, mysterious and enchanting. In this way, these works render rationality itself fantastic and adventuresome.

Q: So it’s a recovery of magic in a way.

S: Absolutely.

Q: Would a similar observation be made with the detective fiction?

S: Yes, Conan Doyle’s Sherlock Holmes is of course a great example.

Q: Some Japanese writers in the early twentieth century experimented with the form of detective fiction, in some ways pushing against the genre’s logical structure. The original short story that served as a base for Rashomon, called “In a Grove,” by Akutagawa Ryunosuke, can be seen as a variant of a detective fiction in which the climactic “resolution” is totally negated, leaving the readers in the dust.

S: That’s very interesting. You should check out Harry Stephen Keeler. He’s really amazing. His style is called “webworks,” with these completely ridiculous plot strands all criss-crossing the narrative, and somehow tied up neatly by the end! One of his mysteries introduce the culprit at the very last page [Laughter].

Q: That’s worse than The Murder of Roger Ackroyd.

S: Definitely worse [Laughter]. He also had a knack for most bizarre titles you could imagine. I think one story was called “The Man with the Magic Eardrums.” [Laughter]

Q: Not to be read too aloud [Laughter].

S: Exactly.

Q: Do you read a lot of British science fiction? Any comment on new development on the other side of the Atlantic?

S: The British have re-invented the “space opera” subgenre in the past decade. The British are fairly conscious of the space opera as a genre that replays the history of the British Empire, so I believe some temporal distance from their actual historical experience might have been needed before they became comfortable again with the notion of space conquest and such.

Q: Any particular author?

S: Iain Banks is great. I also enjoy Alistair Reynolds, Peter K. Hamilton, Stephen Baxter, Ken Mcleod.

Q: What do you think the future holds for science fiction?

S: The future is bright! I am optimistic. I think cyberpunk affectation is becoming passé. We are ready to move onto the next level, perhaps. I think it won’t be the ideas themselves but the media format in which the writers work that will be extremely influential in determining the future of the genre. By the way I don’t consider the pervasive influence of the electronic publication bad at all, either. The transition from our still print-media-oriented readership to something almost fully electronic could be a bit bumpy, but in the end good stories and good characters will continue to matter

Q: Please tell us about your latest project.

S: A new anthology regarding the “re-enchantment” of the modern world is now out [Re-enchantment of the World: Secular Magic in a Rational Age, Stanford University Press, 2009]. We [editors Michael Saler and Joshua Landy] are arguing that modernity does not necessarily entail “disenchantment.” We do not directly deal with religion, but we do look into what filled in the vacuum left by the God’s absence following the secularization of the world. The question is whether science could comfortably fill God’s shoes: after all, God had fulfilled so many different functions for the believers. It is our argument that science can actually be harnessed to serve some of these functions, thought to be totally at odds with its basic character. Charles Darwin, as you know, did not reject the world of transcendence. What he wanted to do is to understand the world without resorting to theology.

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This was also a concern of H. P. Lovecraft. Sure, his stories were meant to scare and disturb us but at the same time they are wholly accepting of the mystery of the universe. He endorsed the modern understanding of the imagination as intrinsic to rational cognition (just as Sherlock Holmes claimed he was engaged with the scientific use of the imagination). I think that’s the real reason why Lovecraft and Doyle’s Holmes are so popular and lasting. In fact, Lovecraft continues to be interesting almost in spite of some of his stylistic predilections. He never met an adjective he didn’t like.

Q: Yes, the “indescribable horror…” which he goes on to describe anyway [Laughter]

S: I remember he once wrote a phrase, “Concave space that somehow behaves like convex.” [Laughter] It’s really brilliant.

Q: It’s almost a Zen koan [Laughter].

S: Lovecraft had a core artistic vision that I believe gets communicated to the readers no matter how pulpy the story itself became, or no matter how dense his writing got. This is in contrast to, say, Robert E. Howard, who was a passionate writer with great skills but, as far as I can see, lacked Lovecraft’s vision.

Q: OK, we are approaching the closing time, so I will ask you a quick question. Which do you think will happen in your lifetime, 1) contact with an alien life-form, 2) creation of a fully operational artificial intelligence, and 3) discovery of the means to travel faster than light [Laughter].

S: #2 will probably come first. Then that superior intelligence can answer questions 1 and 3 for you.

Q: Thank you so much for agreeing to be interviewed for my humble blog.

S: My pleasure.

Interview content copyrighted to Kyu Hyun Kim, 2009.

Not to be cited or otherwised reproduced without explicit permission.

December 29, 2008

My Favorite DVD/Blu Rays of 2008

Filed under: DVD Reviews — Q @ 1:30 am

Holy Mackerel, 2007 was only one page ago in this blog, and already only three days left to go before 2009! 2008 has been a pretty eventful year in my life, as it turned out—what with the book finally coming out and also with nearly killing myself in a car accident– but enough about little old me… it’s time to select the favorite DVDs of 2008, girls and boys.

The big non-event of the year, DVD-collecting-wise, was that I finally relented (after Criterion announced its first spate of Blu Ray releases) and bought a Blu Ray player as well as a slew of discs in the new format. I think losers in a war should shut up and not make any excuses, so as a former supporter of Toshiba and HD DVD, I will refrain from cracking “I told you so”-’s to those who got stuck with the Blu Ray discs unplayable in your instantly obsolete players and have to deal with the consumer-insulting concept of “firmware update.” So far my unassuming Panasonic player has shielded me from any major hiccups (well, it finally had trouble reading Disney’s Sleeping Beauty, of all things), and that’s just the way I hope things stay. Blu Ray, while not God’s perfect solution to the problem of high-def upgrading, still does allow us to have access to a goodly number of cinematic arts in the form that makes us a lot more appreciative of their visual and aural capacities. I guess I have made peace with the format, for now: I don’t expect me to switch over to downloadable files in HD anytime soon. I am watching the latest season of Law & Order: Criminal Intent on iTunes, for sure, but that will not stop me from buying them on DVDs, or even Blu Ray, if NBC bothers to release them at all.

Korean cinema industry continues to struggle with a host of problems, most of which are of their own making. The truly pathetic decline, or near obliteration, of the secondary market for motion pictures has been an ongoing issue for several years now, but no one is doing anything about it. The DVD market is on the last lines of life support and is paging Dr. Kervokian or anyone else who could just put it out of its misery. The proposed bill to apply the more strict anti-trust regulation on the distribution of motion pictures languishes on the shelf, gathering dust. Hollywood-ization of Korean cinema, in the sense of relentless pursuit of “high concept” movies, slavery to fashions and fads and marketing-driven film production, continues unabated, exactly when the old Hollywood models are crumbling into pieces to make way for the new architectural designs of the Darren Aronofskys and Christopher Nolans.

As for illegal downloading, all I want to say is that this is not the problem that can be fixed through legal or political means. The heart of the problem lies in the Korean consumer’s basic lack of respect for a motion picture as a cultural product, and the idiotically myopic industry practices that cater to such lack of respect in order to make quick bucks: the kind of marketing campaign, for instance, that suggests a movie-goer paying regular ticket price is a sucker compared to some teenaged sharpie getting discounts from using certain credit cards, etc. If you are not willing to pay your own hard-earned bucks for a product, then you don’t give a poop about it, I mean, really. You cannot call yourself a fan of Korean movies if you didn’t make any contribution to the livelihood of the people who make dem movies (unless you are Kim Jong Il, of course). Down with the illegal download!

One bright spot that warms my heart is the Korean Film Archive’s heroic and greatly underappreciated effort to preserve, excavate and make available in public old Korean films, some of which have been dug up among archives of North China and never seen the light of day for more than 40 years. And the Korean film industry continues to draw ridiculously talented men and women thoroughly devoted to filmmaking, still capable of knocking us out with debut films like The Chaser.

Oh well, enough of patriotic jeremiad. Let’s get down to business. As was the case with the 2007 list, the following choices do not reflect my calmly collected, rational evaluations of the movies, animations and TV series found in the respective DVDs and Blu Rays: neither do they represent what I consider to be the highest-quality presentations of the titles. This is simply a very personal and subjective list of the discs that I found intriguing, delightful, surprising, emotionally galvanizing and/or otherwise memorable. And again like last year, there is a separate list for Korean-language speakers at Djunaboard here. I know, the items are not identical. It was actually extremely difficult to pare the list down to even twenty, much less ten.

10. How the West Was Won- Blu Ray (Warner Brothers- No Region Code)

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Is How the West Was Won the kind of timeless classic that can be compared favorably to the best works of John Ford and Henry Hathaway? Probably not. Still, this title is one Blu Ray disc that the disc producers (in this case, Warner Brothers) could proudly point to when confronted with a consumer’s cynical question, “So what does this incredibly enhanced capacity of a Blu Ray disc do for us exactly?” The second disc features the “Smilebox” presentation of the movie that curves visible areas of the screen to simulate the original Cinerama projection: in a regular widescreen, the image projected onto three-panel screens becomes inevitably distorted. I had initially expected something borderline cheesy or in any case pretty gimmicky, but no, as soon as I started watching the first three minutes of the Smilebox version I got sucked right into the jaw-dropping vista of snow-bound canyons, raging river currents, etc. Breathtaking is the only appropriate word here. Also included in the set is the documentary Cinerama Adventure, an exhaustive run-down on this specialty format, that is worth the price of purchase by itself.

9. The Invaders- The First Season (CBS/Paramount- Region 1)

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I have still managed to miss The Man from U. N. C. L. E. but otherwise no classic TV series was as much of compelling viewing as Quinn Martin’s The Invaders. Starring Roy Thinnes as an architect privy to a planetary conspiracy by the aliens from outer space (whose true form is never revealed), The Invaders is a quintessential paranoid thriller in the serial form, ahead of its time in its cynical attitude toward the military and government (In one great episode, Jack Lord—that’s right, Steve McGarrett himself—portrays a disabled former military hero who unrepentantly sides with the aliens just so that he can reclaim his “heroic” status) as well as its subtle critique of the rural America’s parochialism and conformity. Seen 30 years later, The Invaders still does its job extremely well, in many ways remaining superior to its more obvious descendants such as X-Files in its no-nonsense dramatics and cool, unsentimental presentation of alien beings.

8. Kim Ki Young Collection (Korean Film Archive/Taewon Entertainment- Region 3)

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In 2008 Korean Film Archive also released the second volume of The Past Unearthed DVD collections, this time focusing on the freshly discovered Korean motion pictures from late 1930s, and other classic titles, but for the sheer non-academic, movie-nut desirability, nothing could surpass the Kim Ki Young Collection, which gathers together four major films of the idiosyncratic filmmaker: Goryeojang (1963), The Insect Woman (1972), Promise of the Flesh (1975) and Ieodo (1977).

A filmmaker of unique talent, Kim struggled mightily against the horrid material conditions of the Korean film industry in 60s and 70s, producing arch melodramas and bizarre thrillers that defy classification. While many of his films, beginning with their titles, were clearly inspired by the Japanese New Wave (Even though his Goryeojang, made in 1963, is intriguingly positioned between the two internationally renowned versions of The Ballad of Narayama, one by Kinoshita Keisuke and the other by Imamura Shohei), he was far from a copycat. Simply put, no one makes movies like Kim Ki Young’s. Sometimes his films are nightmarish and otherworldly in the most fundamental sense of the words. At other times, they are unbelievably kitschy, stupefyingly pretentious or just unimaginably bizarre, funnier than any intentional satire ever could be. Who could possibly forget a prostitute’s necrophilic tryst with a drowned corpse in Ieodo? Or the “vibrating multicolored candies” sex scene, filmed from below a glass table in Insect Woman?

Alas, the films collected in this box set are pretty beat up, marred by scratches, spots and splices. The Insect Woman, in particular, is shown in what is reputed to be the only surviving print, one made for submission to the Sitges Festival, badly discolored in spots with burnt-in Spanish subtitles. It grieves me to think that his films remain outside the purview of the kind of loving restorations given to a Dario Argento or a Mario Bava in the Region 1 DVD market. Still, the Korean Film Archive has done its best, especially from the academic end, including with four DVDs a hefty booklet with two bilingual critical essays and a reconstructed scenario of the permanently lost sequences from Goryeojang.

7. Man of the West (MGM/UA- Region 1)

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This year’s most amazing blind-purchase DVD discovery was hands-down Anthony Mann’s Man of the West, which, despite its plain (even boring) title and bland opening sequence, is one of the most mind-boggling Westerns I have ever seen. Man of the West wrecked the entire frigging concept of “revisionist Western” for me and stunned me into contemplating just how many unsung masterpieces you haven’t even heard about are out there. Had it not been directed by Mann and not starred Gary Cooper, would it have even seen light of the day? The only weak point of the movie is that Cooper is obviously too old to play Lee J. Cobb’s nephew, but otherwise the Coop’s as dangerously ambivalent—he’s darn right scary when he begins to violently undress the howling and weeping Jack Lord while pummeling him into pulp—as I ever seen him.

6. Hammer Films: Icons of Horror Collection (Sony/Columbia- Region 1)

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Sony and Columbia also released another fan favorite this year, the mis-named Icons of Adventure Collection with the sinister (and racist) Stranglers of Bombay, but I am leaning toward this one. The draw for Hammer fans is the inclusion of the rarely-seen Two Faces of Dr. Jekyll, but for me a beautifully remastered Gorgon was the big surprise: compared to the drab VHS version, it really was like seeing an entirely different movie, the Sony DVD version totally unexpectedly managing to evoke the Gothic-romance atmosphere (courtesy of the superb direction by Terence Fisher), despite the sorry quality of make-up on the Gorgon. The Curse of the Mummy’s Tomb and Scream of Fear are the other selections. All in all, a highly satisfactory package, with the quality of presentation decidedly superior to the earlier Anchor Bay releases of Hammer titles.

5. The Dark Knight- Blu Ray (Warner Brothers- No Region Code)

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For some reasons a few people whose opinions I greatly respect seem determined not to like The Dark Knight. Ah well, it would actually stimulate my Contrarian Impulse if everyone agreed with me on the merit of this summer blockbuster that also happens to be a head-spinning crime thriller qua film noir, a complex multi-character drama with a miraculous ensemble of actors delivering thoroughly satisfying performances on all accounts and a startling treatise on the hypocrisies of American law-and-order mentality and yes, even comic-book super-heroism. Can a super-hero franchise movie deconstruct its own myth to this extent and get away with it? Sure, to the tune of 900 million bucks in worldwide box office performance. And this is way before even mentioning the terrifying mystery that is the Joker as interpreted by the late Heath Ledger. I claim that The Dark Knight has a far more perceptive take on the post-9/11, Bush-year American Zeitgeist than any so-called liberal anti-Iraq War film made in last two years (Rendition? Lions for Lambs? I don’t think so. In the Valley of Elah, a very good movie, still cannot match the diagnosis of the problem and prescriptions provided in the Batman sequel), but hey, let’s not get over-excited. All I want to note here is that it is a movie like The Dark Knight that indeed provides rationalizations for switching to Blu Ray, or run to the nearest IMAX theater.

4. The Exquisite Short Films of Kihachiro Kawamoto (Kim Stim Collection/Kino Video- Region 1)

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The “exquisite” in the title is not hyperbole. Neither would be adjectives like “haunting,” “enchanting” or “mystifying.” This DVD collects seven short animated films of Kawamoto Kihachiro, a master of puppet animation and long-time President of the Animator’s Association in Japan. Kawamoto, who had apprenticed at Kratky Studio in Prague under the mentorship of Jiri Trnka, soon developed his own unique style that combines the austere aesthetics of bunraku and noh with the stop-motion techniques. The DVD includes the utterly unforgettable showcases of this style, “The Demon” and “Dojoji Temple,” both adapted from folk stories in the Tales of Now and the Past, but it also demonstrates, in other works including the Kafkaesque parable “An Anthropo-Cynical Farce” (with dialogues in French) and the indescribable “A Poet’s Life,” the stunning range of his skills and the sumptuousness of his tastes. Finally, even though most of the animated shorts are squarely intended for adults, I would be remiss if I neglect to mention the subtle yet droll sense of humor that infuses them.

3. The Naked Prey (Criterion- Region 1)

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’50s minor action star Cornell Wilde was also an independent producer and director. Taking the real-life story of the explorer John Colter and his dire experience with Blackfoot Indians as a basis, he fashioned a harrowing tale of survival and filmed it in South Africa with some of the top-class black actors living under the apartheid system. Dismissed by some critics as in poor taste and overly brutal at the time of theatrical release, Naked Prey is now positioned to be properly appreciated not only for its directorial acumen and wonderful performances, but also for its lyrical beauty and astoundingly cathartic finale. Criterion’s 2.35:1 widescreen transfer is absolutely magnificent, standing out even among its staple of restorations.

2. The Fire Within (Criterion- Region 1)

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Watching The Fire Within was at once an explosively exhilarating and a deeply unsettling experience. With apologies to Michelangelo Antonioni, L’Aaventura feels like a fashion show with an egotistical designer harboring in the background next to this searing portrayal by Louis Malle of a man who is slowly sliding into spiritual, and soon to be culminating in physical, death. Malle has always been my favorite nouvelle vague filmmaker, even though there are few films of his that I could enjoy or have fun with, as I could with Truffaut or even Godard. The Fire Within is probably one of the monumentally feel-bad movies I have seen in my life, and yet the particular truths laid bare in it, embodied in the extraordinary performance of Maurice Ronet, a European actor of yesteryear whose early passing I mourn more than anyone else’s, haunt my dreams (and waking moments) like no other.

1. L. A. Confidential- Blu Ray (Warner Brothers- No Region Code) la-confidential-blu-ray-a-crack-team.jpg

And here we go, the no. 1 disc I bought this year. L. A. Confidential. This velvety-on-surface but tough-as-iron-inside dame has not aged at all. No, I take it back, she actually improves with age, in all aspects. For me this is what contemporary American cinema is all about, to build superb characters around an exceptionally well-managed narrative and come up with a totality of representation that alters the reality of the lived world through our newfound perception of it. The very definition of cinematic art.

Enough ramblings! I hope you enjoyed my list this year around, too, and as anyone who puts something like this together would wish, you might be a tad more interested in checking out one or more items mentioned in it for yourself. Thanks for reading, and I will be back with more DVD reviews and interviews of SF/cultural studies people very soon.

November 2, 2008

An Open Letter to Senator Barack Obama

Filed under: Uncategorized — Q @ 1:23 pm

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© MSNBC

Dear Mr. Senator,

Two and a half days still remain toward November 4, 2008, a day that promises to be one of the most amazing, pivotal landmarks in postwar American history (I hope that my brilliant UCD colleagues specializing in American history would forgive my hyperbolic pronouncement). In spite of a barrage of learned prognoses and predictions that declaim such possibility, you might still lose this election. It is simply the nature of the beast called politics that it could pull the rug from under your feet at the least expected moment. You must also forgive me for perhaps giving too much credit than I should to the willful blindness of an “ordinary citizen” in recognizing duplicity, hypocrisy and intolerance, even when he or she is directly gazing into the latter’s gaping maws, forked tongues and bloody teeth.

The ignorant, misleading and frankly hateful propagandistic nonsense that were propagated, on the TV, in the internet and through mailing services against you, is something that I, as a Korean having grown up during the years of military dictatorship, find despairingly familiar. Even then, the glaringly and openly McCarthy-ist tone your opponent’s campaign and those who seek to discredit you have adopted took me by surprise. Do they believe that ordinary Americans are so ignorant of the world history, and of the way the world actually is today, that they will equate progressive taxation with “socialism?” Those who know American politics better than me reassure me that this type of language is born out of sheer desperation and will have no “traction” in this year. I hope they are right, for the sake of the United States and the ideals and values it stands for. But throughout my life, I have been disappointed too many times: lies and slanders, even thoroughly preposterous ones, always seem capable of planting seeds of doubt in otherwise perfectly intelligent people, when oft-repeated. So, I will not rush into congratulating you for a victory that you and your superb campaign staff have fought so hard for, and, at least I believe, so richly deserve.

Not yet, at any rate.

Your rise from a junior senator, a man of color with a “funny name,” as you yourself good-naturedly have acknowledged many times, to a credible presidential candidate for the Democratic Party, and to a living depository of the hopes, dreams and ideals of so many American citizens, now standing right at the threshold of becoming the first African-American (or biracial) President of the United States, has been a stunning spectacle. No fictional drama could have competed against it. I am told that every American writer dreams of writing a Great American Novel, but what novelist could have concocted such a compelling and moving story as yours? 

Truth be told, I have been an early supporter of your campaign, when the majority of Koreans and Korean-Americans around me had no doubt that Senator Hilary Clinton (a remarkable person, a pioneer in her own right) would capture the Democratic Party nomination and some even considered you a candidate of “grievance politics,” all the evidence to the contrary notwithstanding.

It was, I believe, the C-SPAN coverage of a small rally at Dartmouth College, New Hampshire, held not many months after you have declared your candidacy, that first drew my attention to you among the Democratic hopefuls.  More than anything else, your striking confidence as a biracial candidate hailing from, shall I say, an unorthodox family background grabbed hold of my imagination. If memory serves, there was a moment when you started out, “As some of you may know, my father is from Kenya.” Then you heard someone’s happy response in the background: you smiled, turned around and said, “Oh, I see there are some from Kenya here!” (My apology if these were not exact words)  At that moment, Mr. Senator, you looked so comfortable in your skin, so courageously un-afraid to be authentically yourself, that I could not help but think, “Wow, what difference would it make to have this person as President of the United States?”

I wrote about my hope that you should be the 44th President in a Korean-language message board I frequent, still more or less expecting the nomination to be clinched by Senator Clinton. The date of that posting was June 12, 2007.

Since then I have recalled having seen your photo in 1988 as a fresh-faced Harvard Law student, when Crimson reported your conciliatory efforts toward the African-American student body as the first African-American editor of Harvard Law Review, and later your profile in Harvard Magazine amidst a tough senatorial campaign in Illinois. I have returned to these sources and then dug up some more information about you: I have started to follow your Presidential campaign closely.  The more I read about you, and listened to you in the last 16 months, the more impressed and excited I became.

So many factors—your superb performance as an orator and a persuader, your display of sound judgment, intellectual capacity and calm temperament, your distinguished if not-too-long records as a public servant, your policy proposals, the way you have commanded election campaigns without rancor and cynicism, nonetheless with a healthy measure of somber realism and unfailingly astute assessment of the strengths of your adversaries—have come together, almost spectacularly, to confirm my initial impression.

I have no reason to doubt that, if elected, you will not only make a powerfully effective President of the United States, but perform this role, now more important for the welfare of the entire human race than ever, in a sober, responsible manner, never prone to grandiose theatrics disguised as gestures of confidence (which often comes tinged with a hyper-masculine sense of jingoism in this country: “I will annihilate Iran,” remember?), carefully calibrating your choices against all possible opportunities and pitfalls, and shucking the type of ideological death-grips, seemingly inducing paralysis in the brains of even the most intelligent among America’s political representatives (By the way, I have read your and Senator McCain’s essays published in Foreign Affairs, and I think I recognize the forward-looking thrust of your world-view, as opposed to your rival’s rather old-fashioned, rigidly “us-vs.-them” notions of geopolitical strategy).

I strongly believe that the struggles that you had to go through as a child and young adult, and the insights on differences and similarities of human beings across cultural and ethnic divides you gained as a result, so eloquently and thoughtfully communicated in Dreams from My Father, is a great asset you will bring to your relationship with the rest of the world as President of the United States. It always frustrates me that so many Americans, “liberals” included, and even those whom I respect and admire, are essentially locked in the view that the United States is the center of the known universe, much as the Chinese empire used to regard itself as the “Central Kingdom.”

A rather noxious outgrowth of this tendency is the idea of America the global police, which in practical terms so easily devolves into America the global bully, the kind of corrupt police that gladly “works with” known criminals, runs its own illegal enterprises on the side, takes payola and faces the other way while their “friends” commit dastardly deeds, but does not hesitate to adopt the policy of shoot-to-kill when dealing with the criminals “they don’t like.” I am yet to see a global leadership emerging from Washington D. C. that truly practices “realism:” by which I don’t mean positioning oneself in the genealogy of Hans Morgenthau-Henry Kissinger school of international relations, but being fully cognizant of the complexly intertwined nature of international relations and being able to offer a coherent vision of a better, future world in which the United States can rightfully assume not just the dominant role but also the responsibility of a leading nation. More often, “realism” in foreign policy simply means exercising seemingly God-given right of the U. S. to pursue its (often ill-defined) “national interests” at the expense of other nations. Why don’t we all go back to the true meaning of “realism,” which is to face the empirical reality of the situation as it stands and start off from there, rather than using it as a codeword for taking a hard-line, unilateral, non-idealistic stance? (As in the often-used expression, “Get real.” Well, I am still hoping against hope that the U. S. would really “get real” about the world)

To be truthful, Senator Obama, I have some reasons to be concerned about you as well.

Yes, your professed willingness to “use diplomacy first” in relation to the so-called enemies of the United States—unlike the disastrous foreign policies of George W. Bush– as well as your consistent refusal to use the jingoistic rhetoric to gain easy approval from the voters are deeply encouraging. However, in your stump speeches, you have sometimes resorted to bringing up “unfair trade practices” of South Korea, and, at least on one occasion, took Koreans to the task for questioning the safety standards of American beef.

I understand that this is a familiar refrain derived from the Democratic Party election strategy manual. I am reminded of the presidential campaign of Senator Dick Gephardt circa 1988, whose protectionist campagin theme found an appropriate scapegoat in Hyundai cars. Senator Gephardt knew that he could not seriously challenge the consumers for buying Toyotas and Hondas in droves, so he picked on Hyundai, a Korean brand (Perhaps you would like to challenge this version of the story? I know your campaign does include veterans of the Gephardt campaign: I’d love to hear their takes on this episode).

It is not that I believe you have any animus against Koreans or East Asians (although a few around me are alarmed that you are slightly “tone-deaf” about the Asia-Pacific. On the other hand, I am well aware of the support Asian-Pacific Americans are giving you). The real objection is that these Democratic Party agendas are old ideas, unfit for a country in an urgent need of facing the starkly new global realities.

I am also concerned that, once in power, you, like other U. S. Presidents who came before you, will fail to include the extremely vocal and active Korean civil society— its middle class citizens, its students, its factory workers, its academics not working for the government, its NGOs, its community organizers—in the future discussions about the evolution of U. S- Korean relationship, and in your formation of long-term strategies involving one of the world’s most volatile and important regions. Why can’t the American President treat Korean citizens like adults and explain to them, openly and honestly, what common interests the two nations share, and whereupon their respective interests begin to diverge? Why can’t he give Koreans a simple reassurance that, no, I cannot put the interest of Koreans above those of the Americans, but no, I will not treat 35 million Koreans merely as potential “collateral damage?”

So, I, along with other like-minded specialists of Korea/East Asia, will be observing your foreign relations initiative in the Asian-Pacific regions closely, and if necessary, will raise my voice in protest and criticism. Still, I am hoping that you will be the first American President, to continue with the law-and-order analogy, to actually lower the crime rate in the global village, by throwing the copper’s badge away and seriously starting a community policing program.

Perhaps all this is too much to ask from an American President. I sometimes think Americans will do everything they can not to elect a President who actually are aware of the world outside their “backyards” — in Governor Sarah Palin’s ludicrous desgination, the “real America” (Does Governor Palin know the difference between North and South Korea? It’s not exactly like North and South Dakota, as you probably are aware, Mr. Senator, but I have my doubts about Madame Governor).

Nonetheless, I believe that if anyone can break out of this constricting mold for perceiving international relations—that apparently generate horrifyingly backward-looking ideas such as a “League of Democracies,” entertained by Senator John McCain—it is probably you, Senator Obama.

I believe the people who claim that we are projecting whatever we want to see to the “blank slate of Obama” is completely, utterly wrong. You are, to put it bluntly, as far removed from a blank slate as any American politician I have had a chance to observe. No doubt you already come prepared with substantive ideas about how to grapple with monumental problems that face the next President. I am not going to second-guess them. I simply request that you apply the same rigorous “new thinking” you have displayed in tackling domestic agendas to understanding of the U. S- Korean (and in broader terms, U. S- Asian) relations. They are in need of re-thinking and re-conception, as much as Ronald Reagan’s “trickle-down” theory of economics is in need of debunking.

Yet, despite these qualms, I would like to end my letter by thanking you. Yes, you are an ambitious politician, capable of being ruthless and manipulative, if the occasion calls for it, I suspect.  But that is what we expect of someone who seriously wants to be the commander-in-chief of the American military.  The unshakeable truth remains that no one else could have done what you have done so far.

It is from the bottom of my heart I thank you for the following:

For allowing us to imagine, and perhaps even participate in, the grand spectacle of a great nation once again setting itself to the course of realizing its almost unrealistically lofty ideals:

For putting us that much closer to seeing a Korean-American woman with a “funny name” like, say, Young Mi Kim, in the seat of U. S. Presidency, or a half-Vietnamese-half-Korean man with another “funny name” like Nguyen Park, occupying the Blue House (in Korea), in the not-too-distant future:

For giving me, a historian by profession, a chance of being part of the monumental history unfolding right before my eyes:

For inspiring the young, the future, the soon-to-come of the human race toward acton for the betterment of the world.

Finally, thank you, Senator Obama, for believing in yourself, for having conviction in your ideas and abilities, and running for Presidential election this year, rather than later, which made all of the above possible.

Next time I write to you on these pages, I hope to address you by a different title.

May God’s wisdom be with you always, and may He choose you as the one to carry the burden.

Kyu Hyun Kim

Associate Professor of Japanese and Korean History

University of California, Davis

September 10, 2008

On Switching from Standard DVD to Blu Ray (Part 2: Was it the chef or the less-than-fresh mahi-mahi?)

Filed under: DVD Reviews — Q @ 2:02 pm

Picking up from where I had left off in the last installment, I think I have established that buying a Blu Ray player and being committed to purchasing more Blu Ray titles do not signal a “conversion” to the new format.  As I have indicated, I have my own doubts about Blu Ray breaking out of the niche market and becoming as dominant as DVDs are today: the latter’s box office clout now rivals, and in some cases overwhelms, that of theatrical ticket sales, giving many excellent movies that somehow failed to find their audience a second chance.  Who knows, maybe The Dark Knight Blu Ray, as inevitable in its coming as future tell-all memoirs authored by various members of soon-to-be-gone Bush administration, will smash all reasonable expectations and establish BD as the thing to replace DVDs. Executives can always hope.

In any case, surfing though Blu Ray reviews in the internet, my impression is that there is, relatively speaking, a rather wide range of views regarding what constitutes top-of-the-line BD titles.  Moreover, this seems to be related to a problem raised in my previous chat, that is, the question of whether a particular reviewer’s dissatisfaction with a presentation primarily originates from transfer problems, or from the source itself. This issue does not seem to be as clear-cut as the ”experts” would have us believe. 

True, everyone seems to agree that, say, Disney’s Enchanted and Warner’s Blade Runner are as good as any and can serve as reference titles for showing off the capacity of Blu Ray.  At the same time, I am struck by the very bad marks given to, for instance, the BD video quality of Danny Boyle’s 24 Days Later, a fine if not earth-shakingly original apocalyptic thriller, filmed in less-than sparkling, purposefully degraded digital video.  In this case polishing the images to meet the usual expectations of a Blu Ray consumer is not only completely pointless, but possibly a violation of the filmmaker’s intentions, as these scruffy, dirty visuals are definitely intentional.   

A similar problem with the audio can be cited regarding, for example, Warner’s BD presentation of Bonnie and Clyde and other classic titles: Warner Brothers sticks to the gun and refuses to “upgrade” the original mono soundtracks for these films, which is applauded by “purists” (I hate this designation, by the way. Should refusing to condone “fixing” and “boosting” old movies for starkly money-grubbing reasons mean that one is an uptight puritan?) but still results in getting lower than three stars in some internet reviews’s “audio” section.

Personally speaking, I am much closer to the “purist”–dang, I hate that word, why don’t I coin the term “authenticist” in place of that?  I suppose this will sound just as cranky and onerous to some, but anyway– position.  After all, I am trained as a historian.  And historians do have to think about the harms of revising or modifying the original content, even for the cases in which modifications are done for morally and aesthetically justifiable reasons.  Of course, I don’t want to push the argument for historical authenticity too much, to the point that even necessary acts of “restoration” can be questioned as meddling with the original. (What would Walter Benjamin think of colorization of old b & w movies if he gets to be revived today?  Just thinking out aloud)  

On an entirely subjective basis, I do disagree with the reviewers assigning low points to the Blu Ray releases that do not deign to give them that “wow” moment, in which an impact of the clear and detailed visual imagery overwhelms other critical considerations, at least for a while.  Aesthetic quality needs not necessarily declare itself in flamboyant and attention-grabbing colors: a cloth  dyed in dark indigo only can be just as luxuriantly beautiful as one emboidered with flowers of a hundred hues.  Of course, checking out several Blu Ray discs of old and new films, I have experienced more than a few occasions in which my senses would be indeed overwhelmed by the sheer beauty and clarify of the vision, producing a sense of eye-popping (and ear-stretching) frisson that convinces me that I am watching these films from a completely new perspective.  When this happens, it’s akin to getting your eyesight instantly enhanced by an improved prescription on your glasses. 

To give one example, having missed any theatrical showing and only watched a standard DVD, I had little clue of the almost erotically sensual quality of the pools and caverns of darkness that encompass Dark City’s vista, until I caught up with it on Blu Ray.  The details of what emerges from this rich darkness were equally amazing: I could not only let myself savor meticulous and elaborate production and costume designs but also notice things like– I don’t think she would appreciate me pointing out this, oh well– young Jennifer Connelly’s facial hair.

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© New Line Pictures.

On the other hand, the Lionsgate BD release of Terminator 2: Judgment Day, probably one of the most visually stunning films I remember from late ’80s (regardless of the massive problems I have always had with it, such as its imploding time-travel logic, near-psychotic characterization of Sarah Connor and so on), did little to support the veracity of my recollection.  Surprisingly, Terminator 2 showed its “age” far more prominently than other titles equally old or even older that I have seen in high-def.  The images appear too stark and cold at one moment, grainy and lacking in definition at another. 

I understand that this may be the fault of the source and not of the transfer, as Terminator 2 was filmed in Super 35mm, so the grain and lack of resolution do come with the original package.  Should Lionsgate have polished the image further, perhaps aggressively turning up digital noise reduction?  Whether the ultimate responsibility lies with Jim Cameron and the filmmakers or with the DVD production crew, I did not feel its Blu Ray presentation justified an upgrade for the BD version.  Despite many reviewers claiming that Lionsgate had probably done all it could to present the movie in the best possible light, I suspect that several years down the line we will see an upgraded version of Terminator 2 Blu Ray. 

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© Lionsgate Hone Entertainment.

How ’bout pay raise for all UC personnel, Guv’ nor?  Especially those who struggle with research funds in “minor” fields like Asian history.

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© Lionsgate Hone Entertainment.

I couldn’t produce good-quality captures but some Blu Rays of recent films– such as The Ruins–demonstrated other types of problems.  In case of The Ruins, the visuals displayed– to paraphrase one reviewer’s expression– “hot and bothered” quality, exceedingly bright and shiny during daytime beach scenes, while, conversely, drowning in murky, obscure condensations of black, during scenes set inside a jungle or a subterranean chamber. In this case as well, I did not see much improvement over standard DVD.  In fact, an argument can be made that SD makes for a less eye-straining viewing experience here, with the increased resolution of the BD hightening, instead of modulating, harshness of the imagery.

I was more “wow”-ed by the Warner’s BD of the ’60s classic Bonnie and Clyde. The special edition Blu Ray showcases truly astonishing images, many of which totally escaped me during previous viewings at revival theaters and on VHS, furthermore free of the unnatural “oil painting”-like textures produced by excessive digital cleanup.  The Bonnie and Clyde Blu Ray lets us appreciate it not as an “old” movie but a movie made with the aesthetical objectives and articulated styles– supremely elegant, old-Hollywood yet realistically bloody and dusty– distinct from contemporary cinema.

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© Warner Brothers Home Video.

The yellow weeds on the roadside, haystacks and cornfields in pale gold: the natural environment of Bonnie and Clyde all look marvellously natural and yet are unmistakenly seen and imprinted through the ’60s-cinema’s camera-eye.

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© Warner Brothers Home Video.

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© Warner Brothers Home Video.

Just being able to see Faye Dunaway in these glamorous close-ups is a reason enough to invest in Blu Ray, I tells ya.

I was equally impressed by BD presentation of Clint Eastwood’s Pale Rider.  Not one of the maestro’s strongest films, it nonetheless features stunning cinematography courtesy of Bruce Surtees, Eastwood’s frequent collaborator in this period.  When I saw this film in the movie theater, during what I think was probably worst decade in the last 50 years in terms of theatergoing experience– when VHS and cable TV were socking motion picture sales and multiplexes with cat’s brow-sized screens were rapidly taking over from magnificent old theaters like Boston’s Coolidge Corner–, my appreciation of it was greatly hampered by truly bad projection: I literally could not make out about 20% of the movie during the screening, and all visuals sported a grungy, dirty look.  I most assuredly did not consider it a beautifully photographed motion picture. 

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 © Warner Brothers Home Video.

On this account, I am happy to be proven wrong. The Blu Ray presentation cast an entirely new light on this “murky” Western: now I can see that DP Surtees and Director Eastwood had made a conscious choice to “paint” the landscape and characters in specific ways, and my appreciation of the film in question has greatly enhanced as a result.

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© Warner Brothers Home Video.

Of course, you can still debate the relative merits of Eastwood’s strategy– using a distinctive, darker and washed-out palette of colors to render a classic Western background– but sure as heck, you can’t have an argument one way or another, when a huge chunk of the movie is simply buried under the muck, as when I first saw Pale Rider in theater.

Even the high-contrast view of Eastwood in daylight scenes, whose eyes are almost always obscured by the shadow cast by the brim of his hat, seems more atmospheric than annoying.

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© Warner Brothers Home Video.

So, even though there were several cases, whether due to the problems with the source materials or due to lackluster or merely less-than-startling presentations, that did not convince me that they were unquestionably superior to standard DVDs, for the majority of cases, BD did improve the quality of viewing experience.  And considering examples like Bonnie and Clyde and Pale Rider, older films clearly are capable of benefitting much from Blu Ray’s higher resolution. 

The Bu Ray market worldwide is still dominated by brand-new movies and more mainstream commercial hits, and it will take some time before more obscure but desirable titles get released.   Hopefully some classic Japanese cinema as well as Korean films that were not box-office smashes will become available in affortable prices (No, I am not shelling out $75-80 to purchase the Japanese Ghost in the Shell: Innocence Blu Ray.  I will seriously consider it when I win the California lottery next time).

* Note: Delays were caused in uploading this essay due to the accessibility problem suffered by the internet server for this blog.  My apology to those who tried to access this page and got the text that was cut off in a mid-sentece.

September 1, 2008

On Switching from Standard DVD to Blu-Ray (Part 1: Why It’s Not Really A “Switch” At All)

Filed under: DVD Reviews — Q @ 6:01 pm

As those who pay attention to this sort of thing know, the Hi-Def format war, waged between Toshiba on the one hand supporting a better worked-out but less spacious (in terms of how many bytes of digital information you could cram into one optic disc) HD-DVD, and Sony, LG and other host of companies supporting Blu-Ray, resulted in the latter’s victory earlier this year, when Warner Brothers, one of the biggest suppliers of video content, decided to go exclusively Blu-Ray.  Not having been a fan of Sony and of the ridiculous concept of “firmware update,” I sort of leaned toward HD-DVD, but the format war ended without me purchasing a single HD-DVD.  Before the format war had ended in favor of Blu-Ray, I was determined to wait out at least until the end of 2008, or maybe even until when I come back from a long research trip in Seoul, Korea, for my second book, in sometime 2009. 

Yet, I knew in my heart that, as soon as the format war was over, I simply had to buy a Blu-Ray player.  Having a proper HD TV was an essential condition for making this leap, but that in itself was not enough. Sure, I love to watch PBS station in HD. Even their cooking shows are immeasurably enhanced by sparkling colors and details of the texture of carrots and pimentos.  TV has one essential problem… I cannot watch what I want on it, when I want it, in the way I want it, except for those who live with the so-called programmable TVs (Yeah whatever. I think there is a big, discernible difference between programming your TV based on what’s available and actually owning a movie. Now don’t make me get into this… I am moving ahead). No, what finally made me haul my butt to the local electronics store was the availability of desirable contents: specifically, the announcement posted by DVD Savant that Criterion is releasing Blu-Ray DVDs.

Don’t get me wrong.  At this point, there is no guarantee that most, or even a relatively large proportion, of the kind of movies that would turn my head will be released or re-released in Blu-Ray, despite Criterion and other “boutique” labels jumping in the BR bandwagon. Even in its first, trial-and-error phase, more than a few DVD labels had already reached deeply into studio vaults and cellars and churned out many motion pictures that were for practical purposes never seen in proper form (or never in any form, period) since their theatrical runs.  DVDs allowed us to rediscover Mario Bava, see Dario Argento’s works in splendid colors, and appreciate multiple versions of  controversial masterworks like Alien and Brazil with running commentaries by the filmmakers. And all this without ever having to rewind the tapes (Having trouble with your students about them understanding the “repeating yourself like a skipping LP” reference?  If you really want to confuse them, make a joke about returning your VHS to the rental store without rewinding it.  Oh, now that I think of… there’s Be Kind Rewind. Ah well, some people remember ’80s technology with a whole lot of goodwill)!

In sum, I doubt that Blu-Ray will allow us to re-discover and re-appreciate so much of the cinematic content as DVD had done for last ten years. It might end up reaching the maximum growth potential of a niche market and just stay there, basically serving as an alternative to DVD only to those who are in fact willing to shell out a few extra dollars just to get higher resolution and better sounds, which definitely includes me, but probably not a model casual consumer out there.

Oh, I have no doubt that we will all have our Hitchcocks and Kurosawas and Gone with the Wind on Blu-Ray in a few years from now, maybe sooner.  Meanwhile, I continue to purchase DVDs, not really stopping in my tracks to think about whether these titles will eventually be available in Blu-Ray.  What if they do?  Then I will double-dip.  The popular titles are continuously re-issued in the DVD format anyway: double or even triple-dipping is an established practice among DVD collectors (I am sure the situation will be exactly same with downloadable digital files, with an ”updated” dot-whatever-alphabetic-letters-to-fill-this-space file of Psycho made available every few years).  Care to count how many special, special-ultimate, special-ultimate-collectible editions of Hitchcock have so far come out in DVDs? 

I certainly will be happy if every single desirable title, including the ones I own, gets upgraded into Blu-Ray. Needless to say, I am not holding my breath.

Blu-Rays are, it must also be pointed out, just like DVDs, in that they are only as good as their makers make them. Labels who have released mediocre or poor DVDs will not suddenly all turn around and bestow upon us beautifully transferred Blu-Rays.  That’s why the choices of studios like Warner Brothers and labels like Criterion matter: proven commitment to quality is the essential factor in my determining purchase of any product released from a company, and is even more important when we are talking about motion pictures. 

Again, I would be happy to see problematic DVDs re-issued as Blu-Rays with their problems addressed.  But what is likely to happen is that we will get a whole slew of problems unique to the Blu-Ray format: already many reviewers are complaning about how aggressive digital noise reduction and other digital tweakings are turning Blu-Ray versions of decades-old films like, say, Dirty Harry, into “inauthentic” representations.  Very soon we might have to deal with young viewers rejecting some classic films because they do not have the kind of “bright” and “grainless” pictures that they are used to seeing in HD, even though they were never meant to appear that glossy to begin with.

The pictures below are from Kon Satoshi’s beautiful and elegant ode to cinematic art and Japanese pop culture, Paprika.paprika-blu-ray-_2.jpg

© Sony Pictures Home Entertainment.

Checking out Blu-Ray discs, I really didn’t mean to gravitate toward the animation films, as I was not quite sure whether 2-D animation, especially Japanese anime, could serve as the best showcase for the high-resolution of Blu-Ray.  But for better or worse, a large chunk of the media products I own are animations, and no, they are not mostly Disney, so Blu-Ray would turn out to be close to useless if it cannot prove its superiority in representing anime/animation.

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© Sony Pictures  Home Entertainment.

The differences were not exactly overwhelming, nonetheless seeing some animation titles in Blu-Ray was an interesting experience for more than one reasons. In case of Paprika, I was impressed by how Kon Satoshi’s attention to visual detail became much more obvious in the Blu-Ray version.  Sparkling colors and overall cleanliness of the image were less important than I thought: it was really the enhanced resolution allowing me to appreciate the directorial hand and other traces of careful filmmaking that was the most pleasing element about seeing Paprika in HD.  This, however, makes me wonder if Blu-Ray will also play a hand in exposing weaknesses in some classic Japanese anime, such as lack of detail, like, say, fuzzy, obscurely drawn faces of the “extras.”

Below are from Batman: Gotham Knight, an interesting spin-off from the Chris Nolan Batman films.

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© Warner Brothers Home Entertainment.batman-gotham-knight-blu-ray-_1-q-branch.jpg

© Warner Brothers Home Entertainment.batman-gotham-knight-blu-ray-_14q-branch.jpg

© Warner Brothers Home Entertainment.batman-gotham-knight-blu-ray-_15-q-branch.jpg

© Warner Brothers Home Entertainment.

The above four pictures wonderfully capture the details you can glean from Blu-Ray version. Really?  OK, so these pictures do not accurately reproduce the differences in resolution… I know that… but aren’t they great-looking?  It took me long time to process and upload them. 

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© Warner Brothers Home Entertainment.batman-gotham-knight-blu-ray-_5-q-branch.jpg

© Warner Brothers Home Entertainment.batman-gotham-knight-blu-ray-_8-q-branch.jpg

© Warner Brothers Home Entertainment.

A great thing about Batman: Gotham Knight was that we could appreciate the strikingly distinctive style of animation for each short chapter.  A case in point, look at the two pictures below, from the segment “In Darkness Dwells.”batman-gotham-knight-blu-ray-_9-q-branch.jpg

© Warner Brothers Home Entertainment.batman-gotham-knight-blu-ray-_10-q-branch.jpg

© Warner Brothers Home Entertainment.

If you thought they look grainer and darker, with wobbling colors, than other screenshots, you are right. And it’s not because I have done something to them. It’s because of the style in which ”In Darkness Dwells” is drawn. In other words, what can be perceived as a low quality of transfer is in fact a conscious aesthetic choice on the part of the animators/filmmakers.   batman-gotham-knight-blu-ray-_11-q-branch.jpg

© Warner Brothers Home Entertainment.batman-gotham-knight-blu-ray-_12-q-branch.jpg

© Warner Brothers Home Entertainment.

Beautiful, isn’t it?  Watching Blu-Ray versions of Paprika and Batman: Gotham Knight was not exactly a revelatory experience. In the case of the latter, in particular, I probably would have been equally satisfied with the standard DVD.  Yet, I cannot say there was no noticeable difference in presentation for the Blu-Ray.  Despite the 2-D animation format of these films most likely coming with a built-in ceiling for the level of improved visual viewing experience (We are not talking about the authenticity question in this case per se), the enhanced resolution surely allowed me to appreciate not only fine textures of visual images but also the filmmaking hands that guided them toward well-defined objectives.  So, the experience may not exactly have led to a tearful conversion with scales falling off my eyes, but it was more than satisfactory, especially in the case of Paprika.  

Still, my guess is that contemporary American 3-D animation like Pixar shorts and features would benefit far more from Blu-Ray conversion than the Japanese anime.  If a high-def version of, say, Nausicaa in the Valley of the Wind, is set up against that of, say, Fantasia, too, I suspect it’s the latter that will regain far more of its luster with the help of Blu-Ray. 

In the Part 2, I will move onto live action films. (Maybe drop a word on the Pixar short boxset, if I can find space)

August 9, 2008

DAZIMAWA LEE Press Screening Photos

Filed under: Uncategorized — Q @ 12:34 am

Here are pictures taken at the Samsung COEX Megabox press screening of Ryoo Seung-wan’s latest film, Dazimawa Lee, slated to hit Korean theaters on August 14, 2008. 

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Q & A session following a well-received screening.

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Im Won-hee (left) plays a Korean super-agent, circa 1942, with a mission to retrieve a golden Buddha’s statue with the agent’s list of names. Park Si-yeon (right) plays his love interest and fellow agent, Mari.

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One more Park Si-yeon. My apology that the picture quality is not up to the professional standard. It was just me and my trusty Pentax digital camera.

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Er… one more. ^ ^

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Director Ryoo (left) fields questions.

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Super-cool Ryoo Seung-beom, the director’s brother, who plays the film’s best and funniest character, “Border Lynx.”