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HORIZON AESTHETICS: AFFECT, FOREIGNNESS, the EAST-WEST MOVEMENT in the Cinema of Hong Sangsoo in in Another Country

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HORIZON AESTHETICS: AFFECT, FOREIGNNESS, the EAST-WEST MOVEMENT in the Cinema of Hong Sangsoo in in Another Country UNIVERSITÉ DU QUÉBEC À MONTRÉAL ! !"#$%"&'()*+!)+$,*- ! (..),+/'."#)$0&&)**/'+!)')(*+12)*+'3"4)3)&+ $5'678',958:;'<='!<5>'*;5>?<<'95'!"#$"%&'()#*%+"&), RESEARCH-CREATION THESIS PRESENTED AS PARTIAL FULFILMENT FOR DOCTORATE DEGREE IN STUDIES AND PRACTICES OF ARTS BY MI-JEONG LEE APRIL 2020 UNIVERSITÉ DU QUÉBEC À MONTRÉAL ! !"#$%#&'(!")*!)+,$-.&/-0)1)233!4#5)!6#.20%&#%5 7-(8!7!0#)!"#9-(!"#)"#$%!&'()*+,)!"#$"%&'()#*%+"&),):;)$<=>)"?=>@<< THÈSE DE RECHERCHE-CREATION PRÉSENTÉE COMME EXIGENCE PARTIELLE DU DOCTORAT EN ÉTUDES ET PRATIQUES DES ARTS PAR MI-JEONG LEE AVRI L 2020 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de cette thèse se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 – Rév.10-2015). Cette autorisation stipule que «conformément à l’article 11 du Règlement no 8 des études de cycles supérieurs, [l’auteur] concède à l’Université du Québec à Montréal une licence non exclusive d’utilisation et de publication de la totalité ou d’une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l’auteur] autorise l’Université du Québec à Montréal à reproduire, diffuser, prêter, distribuer ou vendre des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l’Internet. Cette licence et cette autorisation n’entraînent pas une renonciation de [la] part [de l’auteur] à [ses] droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire, [l’auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire.» ii -".&,%/0%1/#2,#2$% % ACKNOWLEDGEMENTS ----------------------------------------------------- 4 PROLOGUE ------------------------------------------------------------------------ 5 RÉSUMÉ----------------------------------------------------------------------------- 8 ABSTRACT------------------------------------------------------------------------- 9 KEY WORDS ---------------------------------------------------------------------- 9 INTRODUCTION------------------------------------------------------------------ 10 CHAPTER ONE. THE SONG OF HOME -------------------------------- 30 1.1 !"#$%#$%# at Threshold----------------------------------------------------- 31 1.2 The Twofold: Ephemerality-Perpetuality ------------------------------- 36 1.3 Schizoid East-West: Haecceity #&' Penumbra (Deleuze – Chuang-tzu) ------------------------------------------------- 51 CHAPTER TWO. THE CINEMA OF HONG SANGSOO: TRANS-WANDER IN ()*+),!-./*0,1)!/2 ---------------------------- 66 2.1 Visitors On the Horizon---------------------------------------------------- 68 2.1.1 Opening within the Opening ------------------------------------- 70 2.1.2 Multifold Characters, Anne(s)----------------------------------- 71 2.2 Insertions: Differences of Repetitions---------------------------------- - 75 2.3 Love Story: Foreign, 34 Foreign------------------------------------------ 78 2.3.1 Zones of 546#&7 and the Motel 89:;*<%=9$$$$$$$$$$$$$$$$$$$$$ 84 2.3.2 Desires at Threshold ----------------------------------------------- 86 2.4 Liminal Narrativity -------------------------------------------------------- 90 2.4.1 Inadequacy ---------------------------------------------------------- 99 2.5 Trans-Wandering in the Cinema of Hong Sangsoo -------------------- 103 CHAPTER THREE. HORIZON AESTHETICS ---------------------------- 109 3.1 Nomadic Narrativity- Language III ------------------------------------ 110 3.2 Horizon Aesthetics--------------------------------------------------------- 120 CHAPTER FOUR. DAYBREAK-NIGHTFALL: MIJEONGLEES.ART -------------------------- 138 4.1 Myth of Transversality: !69*<4'>*;6#;*-=?:@*1&7&>94A:*0#B9------ 139 4.1.1 Aesthetic Perception------------------------------------------------ 143 4.1.2 Motif: Water, Garlic and Cave------------------------------------ 145 4.1.3 Feeling-Thinking-Making----------------------------------------- 147 4.1.4 Sewing Collective: Breathing 8C;6*#&'*!6"4=76$$$$$$$$$$$$$$* 149 4.1.5 Tool Box: DA+EFGF'#C"9 / !"#$(aka*H#&#'#"#)--------- 153 4.1.6 Challenges ---------------------------------------------------------- 158 iii 4.2 54"9*I!J-9re/K%=:*L=ACGC*9;*%M ------------------------------------------- 162 4.2.1 Performative Multimedia Art Installation ---------------------- 164 4.2.2 Receptivity ---------------------------------------------------------- 166 4.3 East-West Collective: K9&=?E"#*C&*8C&' ------------------------------- 166 CONCLUSION Transversal Liminality and Liquidity of Horizon Aesthetics ------------------ 169 GLOSSARY ------------------------------------------------------------------------- 175 APPENDICES ----------------------------------------------------------------------- 178 Appendix 1. Tool Box: The Environment of The Body That Hums, Ungnyeo’s Cave ------------------------------------------- 178 Appendix 2. 54"9*I!J-9"9: Archived Materials ----------------------- 181 Appendix 3. Epilogue: Insertion, (&*+&4;69"*04=&;"> ----------------- 183 FIGURES (LIST OF PHOTOS/VIDEOS/ DRAWINGS) -------------------- 185 BIBLIOGRAPHY ------------------------------------------------------------------ 186 FILMOGRAPHY ------------------------------------------------------------------- 193 REFERENCES ---------------------------------------------------------------------- 195 % % % % % % iv 31456789:;9<95-= This work is my song of love about a life, the love that I fell into. It was too late to turn back once I realized it is a lifelong challenge; searching for a forgotten tongue. I stumble with the unfamiliar and arbitrary language of the everyday. I merely express a fraction of the Self in aesthetics mode, hovering between the East and the West, which becomes the twofold body of .#:;$89:;. This treatise of research-creation gathers these feelings and experiences. It was made possible through infinite love and beauty coming from friends, acquaintances, community groups, academic studies and influencers. My heartfelt gratitude goes to two inspiring supervisors: Joanne Lalonde at UQAM and Erin Manning at Concordia University. They fuelled and shifted this lifelong project in all ways; their care, encouragement and support resonate thoroughly in this work. I am proud to name my timeless and beautiful friends, Jacques Desbiens and Trevor Mowchun. My infinite gratitude continues for the philosophical and artistic experimental laboratory 39&:9D#E, spearheaded by philosophers Erin Manning and Brian Massumi; especially the rich /9#'C&7*H"4=N and (??9'C#;C4&: project I participated in. Additional help came from academic focus groups in South Korea, the Deleuze conference in Asia where I encountered Asian peer-researchers and scholars (Seoul, 2016), 3NC&4O#* 39?C&#": (2016), 39?C&#":*4&*)C9;O:G69 (2014), and many small events and workshops with Tae-won Jin, and Jeong Hwa (Buddhist monk-scholar). I received support from copy editors Sophia Dacy-Cole, Liz McLellan, Halbe Kuipers and Liz Ferguson; my thank-you list continues with Soyoung Kim, Xie Lieu, Paul Landon, Guylaine Dion, Moon- young Huh, Simoo Kim and Sung-il Chung, Yeonsook Kim, Adeena Mey, Kyung Roh Bannwart, Uno Kunoichi, Gabriel Tordjman, Tae-Won Jin, Claude-Yves Charron, Jin-kyung Yi and Haewon Kim. Lastly, this work is in tribute to my beloved ones; mother, father and above all my special brother and sisters whose support made it possible for me continue my life’s journey. v >?686;@9 This treatise is a story of wonder expressed in an aesthetic language, experienced and visible yet ungraspable due to its passing-through characteristic. It is an ephemeral yet perpetual voyage. On the road, the voyager encounters and converses with weightless and invisible nomads like fog, wind, wave. Together, they continue a wondrous wandering to reach the horizon, seemingly over there. They transform into a flimsy beam of light to reach that horizon: a line of flight leaking-departing and reassembling-landing at any-space-whatever. The voyager hums the child’s song when the feeling of longing for 64?9 haunts in the horizon that hovers between the East and the West, becoming the East-West song ;"#$%#$%#. Amid the humming, I feel the presence of my father, more than ever before, accompanying me. He passed away a few years ago and our relationship was uneasy. My running away from the home he moored, and being an artist living abroad were never accepted. I thus confined his voice to a dark shed somewhere in my body. We were not aware and could not say that it is OK to run away far from one’s home, and shelter in no one’s home. It is not that my father and I did not want to see our differences in the body of family. Rather, we did not know how to look at the other side of the body which I left out, often forgotten and neglected. However, I now see and feel his presence everywhere, coming in as a bright and warm light-beam. All the memories of his hand-written letters, voices in his mobile phone data, and smiles in photos remain as a singular sign of him. All of them turned into affective life-wisdoms and experiences in distance, gap and 'FG#%#79@ that hovers between us as the paired line of BC";=#% and "9#%. Sometimes I am startled by his whispering and humming when he sings along with me, taking my continuous journey to traverses at #&>*:N#G9$;C?9$whatever. vi Luckily, I was able to collect a few of his belongings that were supposed to be burnt
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