The Cracked Share by Hangjun Lee & Chulki Hong

The Cracked Share  by Hangjun Lee & Chulki Hong

To begin with, as we understand from a remote place like Seoul, there have been two different conceptions of materiality in the Western experimental film history: materiality of cinema and of film. The former has been represented by the practitioners of the so-called the “Expanded Cinema” and the latter by the tradition of the “Hand-made” film. Whereas for the Expanded Cinema, the materiality or the “medium-specificity” includes not only the film material but also the entire condition and environment in which the cinematic experience is situated (i.e.: screen, projector, audience and theatre); for the Hand-made film, it is the whole filmic process prior to the screening in front of the audience (i.e.: hand-processing and optical-printing). The two practices share in the materialist turn that opens up the radical possibilities of aesthetic (and even political) interventions into a process previously considered seamless and transparent.

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