Han Ok-hee

It was produced as a promotional video for the Daejeon Expo '93, showing images of South Korea's rapidly growing modern history.

In this later work, director Han Okhi returns to her origins as a scholar of Korean poetry to transform the verse of Han Yong-un (1879–1944)—popularly known as Manhae—into a collage of stunning “cinepoems.” Han’s short film features fifteen poems from the eponymous The Silence of Love, the only collection of poetry left to us by the iconic Buddhist, poet, and revolutionary. Since the collection’s publication in 1926, the subject, object, or identity of its central love has remained widely debated. As scholar and translator Francisca Cho discusses, these fluctuations in meaning—a lover? Manhae’s beloved homeland enduring Japanese colonial rule? Buddhist enlightenment?—resound in the malleability of the titular nim, a word that evokes love, lover, beloved, or, as Manhae proposes in the preface to his work, “everything yearned for.” Director Han Okhi takes on the formidable challenge of visualizing the manifold meanings of Manhae’s poetry through her signature experimental style.

하나의 작품을 창조하기까지의 내적 과정을 그리고 있는 무제는 새로움에 대한 갈망과 내적 갈등, 잉태에 대한 두려움, 시지프스의 신화처럼 반복되는 고통스러운 창작의 과정을 담고 있다. 영화는 한 예술가의 자화상을 통하여 1970년대 중반의 암울한 사회 현실을 반영한다.

It shows Korea’s traditional colors and culture through the use of superimposing. It is an experimental film, which not only tries to show Korean traditional culture through the use of color, but also tries to show the modern history of Korea.

One of the major works by South Korean feminist film collective Kaidu Club, this short is a dynamic, idiosyncratic, and mosaic-like portrait of Korean life, culture, and people who dream of a unified North and South.

shows visual and metaphorical representation using rope as a motif through various rope images and meanings.

감옥에 갇혀있는 상태에서 열린 세계로 탈출하고 싶은 강렬한 욕망과 시도를 그림.