Abstract
Abstract This article looks at the first four films of contemporary Korean filmmaker Hong Sangsoo. It seeks in particular to explore Hong's use of ““lines”” as geographical and behavioral figures that chart the contemporary landscape of South Korea at a complex moment in its history. The lines that traverse Hong's world produce a cinema of tangled webs and knotted relations.
- ©© 2004 by Patrick McGilligan. All rights reserved.
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Vol. 57 No. 4, Summer 2004
