토니레인즈 마스터클래스 개최
■ 일시 2017년 10월 11일 13:30 ~ 18:00
■ 장소 영화콘텐츠전문대학원 기술시사실(글로컬산학협력관 508호)
■ 대상 영화콘텐츠전문대학원 재학생과 졸업생, 학부 영화 전공 학생
■ 담당교수 박기용
동남아시아를 대표하는 신세대 작가이자 2010년 칸국제영화제 황금종려상 수상작품인 "엉클 분미"를 연출한 태국의 아피찻퐁 위라세타쿤 감독의 독특한 작품세계를 아피찻퐁 감독을 발굴해 세계에 소개한 영국의 평론가 토니 레인즈를 통해 알아본다.
Apichatpong Weerasethakul (born in Bangkok, 1970) is a singular figure in South-East Asian cinema, but also a prime example of how an ‘unknown’ Asian filmmaker working outside the mainstream of his own culture can achieve global renown and success on his own terms. There are several factors behind his success: his eagerness to explore the space between fiction and documentary filmmaking; his ability to juggle the worlds of art (gallery installations, etc) and cinema; and his surrealist-led project to tap into the notion of “magic realism”, originated in South American literature. This class will explore the specifics of his achievement, using close textual analysis of scenes from his feature films and short films to reveal (a) the ways he uses film language, (b) the ways he straddles the gap between traditional Thai pop culture and modernism, and (c) the ways he succeeds in communicating with non-Thai viewers around the world.
The key ‘text’ for study will be Apichatpong’s feature Uncle Boonmee who can recall his past lives (2010), which won the Cannes Palme d’or, but the class will also examine the full range of his other work, from his semi-made for the Jeonju IFF) and Mobile Men (2008, made for his installation Primitive) to his most recent feature Cemetery of Splendor (2015). We will also look briefly at two films by women directors made in the shadow cast by Apichatpong: Mingmongkol Sonakul’s Isan Special (2002, from an idea by Apichatpong) and Anocha Suwichakornpong’s By the Time It Gets Dark (2016), which has had wide success internationally as a Thai ‘art film’.
Apichatpong’s work is deliberately varied and pluralist, and so many related topics will come up in the course of the class. These include: Apichatpong’s relationship with Buddhist thought; the importance or otherwise of gay sexuality in the films; and the conflicting pulls of narrative and non-narrative in the more ‘experimental’ films, including Uncle Boonmee itself.
■ 강사 소개 - 토니 레인즈
The tutor Tony Rayns is a London-based filmmaker, critic and festival curator with a long-term special interest in East Asian cinemas. He was involved in the founding of Busan IFF in 1995-96 and remains an Advisor to the festival; in 2017 he will serve on a jury to give a new award in memory of the late Kim Jiseok. He has written/edited books on Rainer Werner Fassbinder and Chinese, Korean and Japanese cinema; his latest book is a study of Wong Kar Wai’s In the Mood for Love. His own films include New Chinese Cinema and The Jang Sunwoo Variations. He was awarded the Kawakita Prize in 2004 and the Foreign Ministry of Japan’s Commendation in 2008, both for services to Japanese cinema.