{"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}
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.
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.
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