洪尚秀《后天》中平行剪辑的发挥

Journal of Japanese and Korean Cinema Pub Date : 2022-09-13 DOI:10.1080/17564905.2022.2121595

Marshall Deutelbaum

{"title":"洪尚秀《后天》中平行剪辑的发挥","authors":"Marshall Deutelbaum","doi":"10.1080/17564905.2022.2121595","DOIUrl":null,"url":null,"abstract":"ABSTRACT This essay surveys how from time to time over the course of his filmmaking, Hong Sangsoo has experimented with crosscutting and parallel editing, taking apart their basic elements and recombining them in novel ways. This essay focuses on the way The Day After presents two plot line edited in parallel that move in opposite chronological directions. One plot line moves forward in time while the other moves backwards. Hong's considerable ingenuity and skill in manipulating these basic tropes of filmmaking have passed unnoticed as critical attention has focused on the films' repeated themes. As rich as these themes are, however, this essay argues that Hong merits equal critical recognition for his experimentation with the formal elements of filmmaking.","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"15 1","pages":"70 - 80"},"PeriodicalIF":0.0000,"publicationDate":"2022-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The play of parallel editing in Hong Sangsoo’s The Day After\",\"authors\":\"Marshall Deutelbaum\",\"doi\":\"10.1080/17564905.2022.2121595\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"ABSTRACT This essay surveys how from time to time over the course of his filmmaking, Hong Sangsoo has experimented with crosscutting and parallel editing, taking apart their basic elements and recombining them in novel ways. This essay focuses on the way The Day After presents two plot line edited in parallel that move in opposite chronological directions. One plot line moves forward in time while the other moves backwards. Hong's considerable ingenuity and skill in manipulating these basic tropes of filmmaking have passed unnoticed as critical attention has focused on the films' repeated themes. As rich as these themes are, however, this essay argues that Hong merits equal critical recognition for his experimentation with the formal elements of filmmaking.\",\"PeriodicalId\":37898,\"journal\":{\"name\":\"Journal of Japanese and Korean Cinema\",\"volume\":\"15 1\",\"pages\":\"70 - 80\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2022-09-13\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Journal of Japanese and Korean Cinema\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/17564905.2022.2121595\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Japanese and Korean Cinema","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/17564905.2022.2121595","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}

引用次数: 0

摘要

摘要本文考察了洪在电影创作过程中，如何不时地尝试交叉剪辑和平行剪辑，将它们的基本元素拆开，并以新颖的方式重新组合。这篇文章的重点是《后天》呈现两条平行编辑的情节线的方式，这两条情节线沿着相反的时间方向移动。一条绘图线在时间上向前移动，而另一条则向后移动。洪在处理这些电影制作的基本比喻方面的非凡智慧和技巧被忽视了，因为评论的注意力集中在电影的重复主题上。尽管这些主题很丰富，但本文认为，洪在电影制作的形式元素方面的实验值得同等的批评认可。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

查看原文本刊更多论文

The play of parallel editing in Hong Sangsoo’s The Day After

ABSTRACT This essay surveys how from time to time over the course of his filmmaking, Hong Sangsoo has experimented with crosscutting and parallel editing, taking apart their basic elements and recombining them in novel ways. This essay focuses on the way The Day After presents two plot line edited in parallel that move in opposite chronological directions. One plot line moves forward in time while the other moves backwards. Hong's considerable ingenuity and skill in manipulating these basic tropes of filmmaking have passed unnoticed as critical attention has focused on the films' repeated themes. As rich as these themes are, however, this essay argues that Hong merits equal critical recognition for his experimentation with the formal elements of filmmaking.

求助全文

通过发布文献求助，成功后即可免费获取论文全文。去求助

来源期刊

Journal of Japanese and Korean Cinema Arts and Humanities-Visual Arts and Performing Arts

CiteScore

0.60

自引率

0.00%

发文量

期刊介绍： Journal of Japanese and Korean Cinema is a fully refereed forum for the dissemination of scholarly work devoted to the cinemas of Japan and Korea and the interactions and relations between them. The increasingly transnational status of Japanese and Korean cinema underlines the need to deepen our understanding of this ever more globalized film-making region. Journal of Japanese and Korean Cinema is a peer-reviewed journal. The peer review process is double blind. Detailed Instructions for Authors can be found here.