25th(2023)
Opening Film (1) | Discovery (12) |
Asian Shorts (20) | I-Teens (5) |
New Currents (25) | Korean Panorama, Here & Now (19) |
Polemics: Images, Describing to Resist (16) | Queer Rainbow (6) |
SIWFF 25 Special - RE:DISCOVER (7) | Feminist Collective (0) |
Women Making Art: Shouts and Whispers (9) | PARK Nam-ok's 100th Anniversary (5) |
In Memory of YOON Jeong-hee (2) | Documentary Ock Rang (1) |
Film X Gender (2) | Barrier Free (1) |
CHOI Heehyun
Among everything obscure in an image, there is always the camera. The film reconstructs and radicalizes the ways to see and interpret archival photographs of Korean women taken in the 1950s by American soldiers stationed in South Korea.
There are faded old black-and-white photographs, hands flipping through the pictures one by one. The camera captures the hands, and there is a mirror reflecting the camera. Often, the film playfully reveals the insides and outsides of images, like notes on the back of photographs, playing a role beyond mere documentation. Among the photos taken by the US military are Korean women with heavy makeup for a magic show or theater. We may need to look beyond the images when reading the truth from archival photographs. The sentences from Maya Deren¡¯s An Anagram of Ideas on Art, Form and Film insert questions, colliding with the images within the picture. [KIM Shinjae]
CHOI HeehyunCHOI Heehyun
Heehyun Choi's works are grounded on the interest in the coexistence of physicality and virtuality in projected images, the unseen beings outside the camera frame, and the subjectivity and variability of the act of seeing. Choi has received an MFA in Film & Video at California Institute of the Arts.