Seoul Visual Collective

Produced by Seoul Visual Collective, one of the leading Korean independent film productions, is a penetrating look at Korean independent filmmaking today.

This documentary unfolds diverse voices and views within the independent filmmaking community, as it questions the past, the present and the future of Korean independent film. Are they happy when making films? How do they define independent film? Why do they still retain independent filmmaking today as things have been changed politically and aesthetically? what is their hope and despair? Incorporating archival footage and interviews into the director's own reflections, redefines Korean independent cinema which emerged as negation of status quo about twenty years ago and has continued its search for renewed gaze to the world. What the independent filmmakers have paid attention to is people's lives where various conflicts draw a front line.

On the front filmmaking is also a struggle, tears, sympathy and hope itself. viewing from unquestioning mind, the front can be a mere marginal place. However, from the very moment when resistance takes place in every life, it becomes a center of the world. What the filmmakers see is a new center already existing and ever-growing in the marginalized lives. As the documentary covers diverse filmmakers of different generations and areas, we see the beliefs and self-reflections of the independents, as well as an account of dilemmas that filmmakers face.

Kim Dong-won says that his life was entirely changed by making Sangkye-Dong Olympics, a documentary about evacuated homes because of Seoul Olympic Games. Sin Myung-wha looks at a distance with her wastery eyes, saying "I'm trying not to think of anything right now" when she faces the death of Mrs. Kang Duk-Kyung, former comfort woman during World War Ⅱ and collaborator on her documentary project. Lee Yong-Bae dreans to be forever with the spirit of 'Changsankot-mae', now dissolved filmmaking group. Nang Hee-Sub, one of the founding members of Independent Film Association, negates himself as not qualified for an interview. Kim Myung-Jun wishes to build good world where he can spend his life fishing. And there is Hong Hyung-Sook, the director of this documentary, observing them. is a critical look at a proud film community looking to build solidarity and new direction.

1997, digital & Betacam, 64 min

invited to 2nd Pusan Int'l Film Festival
invited to 10th Int'l Documentary Film Festival Amsterdam
invited to 28th International Forum of Young Cinema in 48th Berlin Int'l Film Festival

From Mr. Chris Berry
“ON-LINE is not only an informative film, but it is also a very moving one. This is because it is not a fossilized history. Instead, it uses history to open up contemporary issues in independent filmmaking relevant not to Korea but globally. On-Line presents vital insights into the history of the independent film movement in Korea. These include the involvement of such now famous figures as Park Kwangsu, Kim Dongwon and Byun Youngjoo in the early days of the movement, critical events like the film THE NIGH BEFORE THE STRIKE, and recent issues. Therefore, it is a very important introduction for younger viewers overseas. ON-LINE really brings this history alive. But the real achievement of ON-LINE is that it uses the history of the independent movement in Korea to open up difficult and important questions for independent filmmakers everywhere in the world today. The film shows today's independent film movement to be full of life, full of debate, and full of arguments. How can independent filmmakers in the post-socialist era continue to make their work useful for political and social issues? What sort of legal and political changes are necessary to ensure a healthy environment for independent filmmaking? What is a true independent film? These are the issues at the core of ON-LINE. In Korea, where events like the 1st Seoul Queer Film and Video Festival and the 2nd Human Rights Film Festival have been suppressed even since the making of ON-LINE, these are clearly vital issues. But they are also important internationally. As the negative side of globalization becomes more clear to everyone around the world, the need for filmmakers everywhere to engage in the labor and social problems it is causing becomes more and more evident. Perhaps because democracy and the development of social welfare has been quite slow in coming to Korea, unlike in many other developed countries, Korean filmmakers have never ceased to be engaged in these struggles. That is why I found the film to be so relevant for me, so provocative, and so moving.

Producer Hong Byunghyun / Cho Hankee
Director Hong Hyoungsook
Assistant director Kim Sunah
Director of Photography Hong Hyosook
Camera Assistants Kim Deukchae / Kim Jungyup
Editor Hong Hyosook / Kim Sunah
Lighting Nam Seungwhan / Ha Dongha
Music Kim Sungmin
Still Pictures Kim Jinhyung
Transrator Chang Hosoon