English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

In  The Children Gone to Poland  (2018), Sang-mi Choo employs different narrative styles not to faithfully present public history on North Korean orphans who were moved to Poland during the Korean War but to rewrite different groups of subjects who underwent painful experiences during the Cold War, such as North Korean war orphans, the Polish teachers who cared for them, and a North Korean refugee who risked her life during the 1990s. To create their dialogic engagement, Choo uses her personal experience and weaves them into her cinematic narrative. Her filmic endeavour, however, is often conflicting as her audiences encounter a non-linear story world in terms of editing. In addition, she experiments with her filmmaking by having a porous nexus among images capturing disparate spaces and times. Audiences become defamiliarized from the film narrative as historical truth and are instead aware of it as a careful construction creating a dialogic space. To explicate Choo’s cinematic project, this article employs the philosophical concept of gesture elaborated by Giorgio Agamben. Choo’s construction of an unconventional film narrative is an ethical response to the miserable subjects who still have painful memories and urgently seek to be heard.

Cinematic collage as an ethical response to the abject: Sang-mi Choo’s The Children Gone to Poland