FORUM BIFF

Gender issues are provoking fierce debate in and out of Korean cinema scene. Along with the Me Too movement, conversation related to feminism has been actively brought up not only in the academic world but also in public discourse. By 2016, the number of female directors who debuted with feature films significantly increased. The stories of female characters, who gain strength from female solidarity, are well received by both critics and audience and suggest a new possibility of female narratives. The narratives driven by female protagonists have appeared also in the action genre, which has long been criticized for excessive male representation. On the other side, amidst the Me Too movement, sex crimes in authority relations keep being committed, and we keep witnessing outright hostility and hatred against sexual minority. Gender inequality in film industry hasn’t been fixed yet. In 2019, female directed films make up only 10 percent of the whole films theatrically released in the year.In this session, the current circumstance of Korean cinema will be examined in the viewpoint of genders. The questions like ‘how gender dynamics has been changed in Korean cinema since neoliberalism?’, ‘how is it related to supra state and capital?’ and ‘What does the appearance of female action films mean in gender representation in Korean films?’ will be discussed. The keynote presentation on recent Korean films including Peninsula, Deliver Us From Evil, A Special Lady, and The Witch: Part 1. The Supervision will be followed by roundtable discussion of the panels consisting of national and international Korean cinema researchers.

Four decades have passed since the Gwangju uprising took place on May 18, 1980. After the dark period not allowing us to speak about what we witnessed, the May 18 democratic uprising has come to us again. The time of testimony and investigation and the time of reflection and re-construction have made it part of our history, and part of our reality. With the wind of such changes, the May 18 democratic uprising has been engraved in many Korean cultural contents. It has become part of our literature, fiction films, songs, and documentaries. These cultural contents telling us the tragic truth have made us crying and frustrated, and at the same time, they have given us courage and hope. The May 18 democratic uprising in cultural contents can help us talk about our future. It can be the contents of expectations and hopes for our future, not remaining a history in the memorial hall.

It is impossible to exclude the Russian cinema’s legacy in writing film history. Along with Eisenstein’s works characterized by the experimental aesthetics in early cinema, the Soviet-Russian cinema has marvelously established its unique tradition as well as part of the universal tradition in film art. The Soviet-Russian cinema is also highly valued with its achievements in Korea. The Korean filmmakers in the 1920s were enthusiastic about Eisenstein’s film aesthetics, and the Korean cinephiles in the 1990s were fascinated by the artistic spirit in Tarkovsky’s films. In celebration of the 30 years of diplomatic relations between Korea and Russia, rethinking Soviet-Russian cinema will remind us of a long history of Korea-Russia exchanges and help us find new contact points. It will also lead us to think about new cultural practices in the age of the rapidly changing media environment and the reorganization of international cultural-political relationships.

Where there are films, there are film festivals. Russians have held various film festivals from the time of the Soviet Union till now. The film festivals were the very site for the creation of new films. The classic case is the Moscow International Film Festival, which became regular during the thaw and now serves as a window on Russian cinema. Besides, there were significant moments in Russian cinema when many Russian filmmakers such as Eisenstein and Tarkovsky were invited to several renowned international film festivals in the West. Many film festivals have been held in the far eastern part of Russia in the post-cold war era. They are noteworthy in that their meeting with the dynamic culture in the Far East has created great synergy.

It is impossible to exclude the Russian cinema’s legacy in writing film history. Along with Eisenstein’s works characterized by the experimental aesthetics in early cinema, the Soviet-Russian cinema has marvelously established its unique tradition as well as part of the universal tradition in film art. The Soviet-Russian cinema is also highly valued with its achievements in Korea. The Korean filmmakers in the 1920s were enthusiastic about Eisenstein’s film aesthetics, and the Korean cinephiles in the 1990s were fascinated by the artistic spirit in Tarkovsky’s films. In celebration of the 30 years of diplomatic relations between Korea and Russia, rethinking Soviet-Russian cinema will remind us of a long history of Korea-Russia exchanges and help us find new contact points. It will also lead us to think about new cultural practices in the age of the rapidly changing media environment and the reorganization of international cultural-political relationships.

Tarkovsky and Eisenstein are obviously master filmmakers in the history of Russian cinema. Can we imagine a new cinema without forgetting them? After their death, Russian cinema seems to have a long sleep. That is why we need to revisit the aesthetics of Russian cinema during the thaw to arouse Russian cinema from sleep and draw audiences’ attention to it. Reconsidering the origin of Russian cinema might be a good way to wake it up. Art in the early years of the Soviet Union was one of the great achievements in the entire art history. Russian cinema was at the heart of it. The reinterpretation of Eisenstein’s later works will also renew our attention to Russian cinema.

The Busan International Film Festival (BIFF) founded in 1996 marks its 25th anniversary this year. A film festival is a ‘contact zone’ where diverse subjects in the various contexts interact with one another. BIFF as a contact zone is strongly characterized by two keywords, ‘Busan’ and ‘film’. For 25 years, BIFF has been an essential linchpin of the growth of Korean cinema since the renaissance of Korean cinema isn the late 1990s and one of the main engines enhancing the placeness of Busan in the cultural context. Thus, celebrating its 25 anniversaries, we prepare venues to reflect on the success and limits of BIFF and discuss its prospects along with Pusan National University Film Institute.

Currently in Korea, more than 1,700 film festivals are held per year. This is not a peculiar phenomenon unique to Korea. Film festivals have been on the rise globally since the end of the Cold War era. BIFF was also born out of this trend and has grown to be the representative IFF in Asia. On its 25th anniversary, BIFF is holding a film festival-themed forum with RCCZ.

Film festivals are contact zones where various cultures and values ​​compete and resonate with one another. They are nodes of the film culture in which people from different fields such as art, industry, and policy join forces. Film festivals cause multilateral contact with diverse cultural, regional, and ethnic contexts. This is not only a trait of individual film festivals, but also a trait of the global film festival network, often referred to as a circuit.

Therefore, it is necessary to pay attention to dynamic collision, competition, and negotiation of various subjects and contexts at festivals. With this perspective, we will look into how film festivals have influenced the past, present and future of Asian films and discuss the power relations surrounding the festival, considering global geopolitics. We also need to look at how new media and a shifting technological environment put pressure on film festivals to change and offer new opportunities to them.

This is not only a reflection on film festivals, but also an attempt to participate in film festival studies that have been carried out for the last 20 years. Due to the outbreak of COVID-19, the film festival world is facing an unprecedented and serious crisis, which is also a problem for film culture as a whole. Facing the contactless, or “untact” era, Forum BIFF is going to explore the possibilities of how to create new “contact zones.”

The COVID-19 pandemic is driving film festivals into very difficult situations, forcing their organizers to seek various alternatives for event logistics, largely through digital technology and online connections. However, many of these changes are not unprecedented: the digitization of film technology has profoundly changed the conditions of film production and acceptance. Film stocks have almost disappeared and movie theaters are rapidly losing their status as the main window for exhibition. COVID-19 is merely accelerating these changes and furthering the transformation of film festivals. Film festival practitioners must reflect upon the future of film festivals in relation to new media technology. In this session, the most innovative festival practitioners will share their insight for the future of film festivals, covering such technological possibilities as online screening, AR/VR/360°screens, and media convergence.

Currently in Korea, more than 1,700 film festivals are held per year. This is not a peculiar phenomenon unique to Korea. Film festivals have been on the rise globally since the end of the Cold War era. BIFF was also born out of this trend and has grown to be the representative IFF in Asia. On its 25th anniversary, BIFF is holding a film festival-themed forum with RCCZ.

Film festivals are contact zones where various cultures and values ​​compete and resonate with one another. They are nodes of the film culture in which people from different fields such as art, industry, and policy join forces. Film festivals cause multilateral contact with diverse cultural, regional, and ethnic contexts. This is not only a trait of individual film festivals, but also a trait of the global film festival network, often referred to as a circuit.

Therefore, it is necessary to pay attention to dynamic collision, competition, and negotiation of various subjects and contexts at festivals. With this perspective, we will look into how film festivals have influenced the past, present and future of Asian films and discuss the power relations surrounding the festival, considering global geopolitics. We also need to look at how new media and a shifting technological environment put pressure on film festivals to change and offer new opportunities to them.

This is not only a reflection on film festivals, but also an attempt to participate in film festival studies that have been carried out for the last 20 years. Due to the outbreak of COVID-19, the film festival world is facing an unprecedented and serious crisis, which is also a problem for film culture as a whole. Facing the contactless, or “untact” era, Forum BIFF is going to explore the possibilities of how to create new “contact zones.”

Film festivals are always geopolitical fields. From regional film policy to international cultural politics, a wide spectrum of power relations is present at film festivals. In light of geopolitics, the past, present, and future of Asian film festivals will be examined.

Currently in Korea, more than 180 film festivals are held per year. This is not a peculiar phenomenon unique to Korea. Film festivals have been on the rise globally since the end of the Cold War era. BIFF was also born out of this trend and has grown to be the representative IFF in Asia. On its 25th anniversary, BIFF is holding a film festival-themed forum with RCCZ.

Film festivals are contact zones where various cultures and values ​​compete and resonate with one another. They are nodes of the film culture in which people from different fields such as art, industry, and policy join forces. Film festivals cause multilateral contact with diverse cultural, regional, and ethnic contexts. This is not only a trait of individual film festivals, but also a trait of the global film festival network, often referred to as a circuit.

Therefore, it is necessary to pay attention to dynamic collision, competition, and negotiation of various subjects and contexts at festivals. With this perspective, we will look into how film festivals have influenced the past, present and future of Asian films and discuss the power relations surrounding the festival, considering global geopolitics. We also need to look at how new media and a shifting technological environment put pressure on film festivals to change and offer new opportunities to them.

This is not only a reflection on film festivals, but also an attempt to participate in film festival studies that have been carried out for the last 20 years. Due to the outbreak of COVID-19, the film festival world is facing an unprecedented and serious crisis, which is also a problem for film culture as a whole. Facing the contactless, or “untact” era, Forum BIFF is going to explore the possibilities of how to create new “contact zones.”

Some time ago, many film festivals around the world began to present agendas and hold themed events every year. In particular, film festivals held in border areas consider themselves contact zones between academia and a political space in which the solidarity of the people is realized (referred to here as “plaza”). Through this initiative, the film festival has evolved into a platform that seeks regional opinions of global issues and a global consensus on regional issues. “Film Festivals Beyond Borders” will investigate the dynamics and aspects of how a film festival proliferates into an “événement” by declaring that film festivals cannot go back to the way they were due to the cultural politics of record and memory as they compete with and join both academia and plaza.

We humans are now in an intense shock caused by COVID-19. Although we might be able to go back to normal lives, the lives we'll have will never be the same as before because we all have already realized that different worlds are possible. However, the new world is not granted to come, and we don't know if it will necessarily be a better one. That's where our choices and actions become important deciding factors. It's a matter of intelligence, courage and will that enable the better world.

At this year's Forum BIFF, we would like to have an opportunity to contemplate on contradiction and possibility in our lives in the crisis caused by the new virus. The forum largely consists of three sessions. Each session will focus on 'everyday life and culture', 'film art and film industry', and 'film festival' respectively. The researchers and experts in each field will explore, discuss and suggest the problems arisen by COVID-19, its systematic condition and the new crisis and possibilities after COVID-19.

We humans are now in an intense shock caused by COVID-19. Although we might be able to go back to normal lives, the lives we'll have will never be the same as before because we all have already realized that different worlds are possible. However, the new world is not granted to come, and we don't know if it will necessarily be a better one. That's where our choices and actions become important deciding factors. It's a matter of intelligence, courage and will that enable the better world.

COVID-19 throws a hard task on the humans. It's time when we need to rethink the existing way of being and acting, distinguish what to keep and what to give up , and boldly explore the new possibilities. Through Forum BIFF, we would like to offer an opportunity to pay attention and contemplate on the lifestyle and cultural change required in the current world to take part in the current panhuman task we're facing.

We humans are now in an intense shock caused by COVID-19. Although we might be able to go back to normal lives, the lives we'll have will never be the same as before because we all have already realized that different worlds are possible. However, the new world is not granted to come, and we don't know if it will necessarily be a better one. That's where our choices and actions become important deciding factors. It's a matter of intelligence, courage and will that enable the better world.

At this year's Forum BIFF, we would like to have an opportunity to contemplate on contradiction and possibility in our lives in the crisis caused by the new virus. The forum largely consists of three sessions. Each session will focus on 'everyday life and culture', 'film art and film industry', and 'film festival' respectively. The researchers and experts in each field will explore, discuss and suggest the problems arisen by COVID-19, its systematic condition and the new crisis and possibilities after COVID-19.

The film scene is facing a major blow due to COVID-19. The crisis is actually unveiling the loopholes, which already existed in ongoing practices and fixed systems. What are the patterns of them and how can they be solved? It seems that we need long-term measures to deal with the problems instead of an immediate allopath, as only then we can turn this crisis to an opportunity. On the other hand, we should also notice that COVID-19 is causing not only pains. There are some newly emerging groups and agents, which lead to radical transformation in the film scene. Is this a sign for a positive change, or a portent of unprecedented crisis? This session is an attempt to seek momentum for healthy progress in the film world amidst the turbulent changing era.

We humans are now in an intense shock caused by COVID-19. Although we might be able to go back to normal lives, the lives we'll have will never be the same as before because we all have already realized that different worlds are possible. However, the new world is not granted to come, and we don't know if it will necessarily be a better one. That's where our choices and actions become important deciding factors. It's a matter of intelligence, courage and will that enable the better world.

At this year's Forum BIFF, we would like to have an opportunity to contemplate on contradiction and possibility in our lives in the crisis caused by the new virus. The forum largely consists of three sessions. Each session will focus on 'everyday life and culture', 'film art and film industry', and 'film festival' respectively. The researchers and experts in each field will explore, discuss and suggest the problems arisen by COVID-19, its systematic condition and the new crisis and possibilities after COVID-19.

The film festival is arguably, the most-damaged sector in the film field by the pandemic. But in a sense, the festivals might have already been in the long-term crisis. They are losing the past status, and the 'collective viewing' culture is also diminishing. The online platform often taken as an alternative to the offline screening can be the way to violate the value of festivals fundamentally. We ask the experts who've been making the festivals advocating the value of 'minority', what the crisis and possibilities are in the changing media environment. The present and future position of 'minority' in film culture and the role of the festivals will be also discussed.

With the advent of the digital age, the use of multi-cameras has become a necessity. Not only does this increase the efficiency of production, but it also has great artistic significance in that it enables filmmakers to capture delicate images. However, setting up multiple cameras requires elaborate design, and setting up lighting suitable for a multiple-camera setup requires a high level of skill. A veteran film director and a lighting director with abundant field experience will hold a workshop with students majoring in film to satisfy curiosity and resolve difficulties. A theoretical lecture will be followed by field practice and the production of a two-hour video. Then the video will be shown to everyone visiting the Busan International Film Festival. It is by no means an easy task, but you don’t need to feel burdened because you can truly learn and grow when you enjoy doing something. That’s why the slogan of the master class is as follows: Let’s play with cameras!