Abstract This review analyzes Turning Gate, the maverick Korean director Hong Sangsoo's fourth film and perhaps the most critically acclaimed title in his distinguished filmography. It discusses how the film——in a humorous yet rigorous fashion——recasts the modernist filmmaking strategies of double articulation, depiction of everyday mundanity, and subtle disruptions of the dominant film language.
Kyung Hyun Kim teaches modern Korea in the Department of East Asian Languages and Literatures and directs the Film and Video Center at the University of California, Irvine. His most recent book is The Remasculinization of Korean Cinema (Duke University Press, 2004).
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Kyung Hyun Kim; Turning Gate. Film Quarterly 1 June 2004; 57 (4): 35–41. doi: https://doi.org/10.1525/fq.2004.57.4.35
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