코고나다(영어: kogonada)는 한국계 미국인 영화 감독이다. 감독 데뷔작 《콜럼버스》로 잘 알려졌다.
학자에서 영화 감독으로 변신하기 전에는 웨스 앤더슨, 오즈 야스지로, 스탠리 큐브릭 등을 포함한 유명 감독에 대한 비디오 에세이를 제작해서 영화계에 이름을 알렸다.
크라이테리언 컬렉션을 통해 베리만의 거울(Mirrors of Bergman), 히치콕의 눈(Eyes of Hitchcock), 브레송의 손(Hands of Bresson) 등 고전 영화 감독들의 작품에서 인상적인 장면을 편집한 비디오 에세이를 발표했다.
예명인 코고나다는 오즈 야스지로 감독의 각본가인 노다 코고의 변형이다.
Filmography
- Director (29 credits)
2022 파친코 (TV Series) (4 episodes- 1/2/3/7)
2022 애프터 양 (directed by)
2017 Once There Was Everything (Video documentary short)
2017 /IColumbus
2016 Linklater: On Cinema & Time (Video documentary short)
2016 Way of Ozu (Video documentary short)
2016 Godard in Fragments (Video short)
2015 Restoring the Apu Trilogy (Documentary short)
2015 Dreams of Cinema: Visual Essay for Day for Night (Documentary short)
2015 On Solace: Video Essay for Cries and Whispers (Documentary short)
2015 Mirrors of Bergman (Video documentary short)
2015 Auteur in Space (Video documentary short)
2014 Trick or Truth (Video documentary short)
2014 The Eye & the Beholder: Visual Essay for La dolce vita (Documentary short)
2014 Eyes of Hitchcock (Video documentary short)
2014 Hands of Bresson (Video documentary short)
2014 Wes Anderson: Centered (Video documentary short)
2013 Against Tyranny: Video Essay on King of the Hill (Documentary short)
2013 What Is Neorealism? (Video documentary short)
2013 Malick: Fire & Water (Video documentary short)
2013 The World According to Koreeda Hirokazu (Video documentary short)
2012 Ozu: Passageways (Video short)
2012 Kubrick: One-Point Perspective (Video short)
2012 Late Summer (as E. Joong-Eun Park)
2012 Sounds of Aronofsky (Video documentary short)
2012 Tarantino: From Below (Video documentary short)
2012 Wes Anderson: From Above (Video documentary short)
2010 Lunch Line (Documentary) (co-director - as E. Joong-Eun Park)
2008 Young Arabs (Short) (as E. Joong-Eun Park)
비디오 에세이 Video essay
From Wikipedia, the free encyclopedia
A video essay is a piece of video content that, much like a written essay, advances an argument. Video essays take advantage of the structure and language of film to advance their arguments.
Popularity
While the medium has its roots in academia, it has grown dramatically in popularity with the advent of the online video sharing platforms like YouTube and Vimeo. While most of such videos are intended for entertainment, some argue that they can have an academic purpose as well. In 2021, the Netflix series Voir premiered featuring video essays focusing on films like 48 Hrs and Lady Vengeance.
Notable video essayists
Frequently cited examples of video essayists and series include Every Frame a Painting (a series on the grammar of film editing by Tony Zhou and Taylor Ramos) and Lindsay Ellis (an American media critic, film critic, YouTuber, and author formerly known as The Nostalgia Chick) who was inspired by Zhou and Ramos's work. Websites like StudioBinder, MUBI, and Fandor also have contributing writers providing their own video essays. One such contributor, Kevin B. Lee, helped assert video essays' status as a legitimate form of film criticism as Chief Video Essayist for Fandor from 2011-2016. Other video essayists include Korean-American filmmaker Kogonada, British film scholar Catherine Grant, Canadian cultural commentator J.J. McCullough, and French media researcher Chloé Galibert-Laîné.
In 2020, curator Cydnii Wilde Harris, along with Will DiGravio and Kevin B. Lee, collaboratively curated The Black Lives Matter Video Essay Playlist, highlighting the medium's activist potential. Because the video essay format is digestible yet often emotionally impactful and can be created without requiring expensive equipment, it has served as a crucial tool for filmmakers and community organizers who have been marginalized from mainstream film criticism and media production.
Criticism
Some have argued that essays from YouTube personalities, while well-produced, can be gussied up opinion pieces and the analysis of said videos can be taken as fact by the viewer due to their convincing academic deliveries.
Studies
In 2014, MediaCommons and Cinema Journal, the official publication of the Society for Cinema Studies, joined to create [in]Transition, the first journal devoted exclusively to peer reviewed publication of videographic scholarly work. The journal is designed not only as a means to present selected videographic work, but to create a context for understanding it – and validating it - as a new mode of scholarly writing for the discipline of cinema and media studies and related fields.
Since 2015 under a grant from the National Endowment for the Humanities, and under the auspices of Middlebury’s Digital Liberal Arts Summer Institute, Professors Jason Mittell, Christian Keathley and Catherine Grant have organized a two-week workshop with the aim to explore a range of approaches by using moving images as a critical language and to expand the expressive possibilities available to innovative humanist scholars. Every year the workshop is attended by 15 scholars working in film and media studies or a related field, whose objects of study involve audio-visual media, especially film, television, and other new digital media forms.
In 2018, Tecmerin: Revista de Ensayos Audiovisuales began as another peer-reviewed academic publication exclusively dedicated to videographic criticism. The same year Will DiGravio launched the Video Essay Podcast, featuring interviews with prominent video essayists.
In 2021 the research project Video Essay. Futures of Audiovisual Research and Teaching funded by the Swiss National Science Foundation started, led by media scholar and video essayist Johannes Binotto, with Chloé Galibert-Laîné, Oswald Iten, and Jialu Zhu as main researchers.
출처 : https://en.wikipedia.org/wiki/Video_essay
Criterion Designs
Made in conjunction with the release of Criterion Designs, a 300-page book, which features highlights from cover art commissioned by the Criterion Collection, including never-before-seen sketches and concept art.
The most exciting names in design and illustration take on some of the most important and influential films of all time in Criterion Designs. This 300-page book features highlights from cover art commissioned by the Criterion Collection, including never-before-seen sketches and concept art, plus a gallery of every Criterion cover since the collection’s first laserdisc in 1984.
"A gorgeous volume." — Vanity Fair
"Movie lovers will find a lot to drool over." -- Wired
Elemental
40,000 years in the making.
Created for The Connected Series
40,000 years in the making. // Part of The Connected Series by Samsung. To view more of The Connected Series
visit: connected-series.tumblr.com.
BIFA // 15 Years
Music: Welcome to Lunar Industries by Clint Mansell
Created for the British Independent Film Awards (15th anniversary)
Wes Anderson // From Above (2012)
Music: High-Speed French Train by Alexandre Desplat
Tarantino // From Below (2012)
Music: Kaifuku Suru Kizu by Salyu
Sounds of Aronofsky (2012)
Sound in film is often complimentary. Rarely does it suggest an aesthetic of its own. The punctuating, rhythmic soundscapes of Aronofsky are the exception. They stay with you long after the film.
Kubrick // One-Point Perspective
Somewhere in this piece is an untenable theory about how this perspective is more than an aesthetic choice for Kubrick but a gateway to the meaning of life.
Ozu // Passageways (2012)
The films of Ozu are filled with people walking through alleys and hallways: the in-between spaces of modern life. This is where Ozu resides. In the transitory. It’s what he values as a filmmaker. Alleys are not an opportunity for suspense but for passage.
Music: A1 by Ólafur Arnalds & Nils Frahm
The World According to Koreeda Hirokazu (2013)
“It seems the world is the summation of others, and yet we neither know nor are told that we will fulfill each other... Why is it that the world is constructed so loosely?” – from Kore-eda's Air Doll (2009)
Created for Sight & Sound / BFI
Malick // Fire & Water (2013)
Of all the recurring signatures of Malick, his use of fire and water might be the most telling, in part because there’s a significant shift between early Malick (Badlands & Days of Heaven) and later Malick (The Thin Red Line, The New World, The Tree of Life & To the Wonder). Early Malick favors fire. Later Malick favors water. In To the Wonder, Malick forgoes fire altogether for the first time in his career. Water reigns.
Music: River by Alexandre Desplat
What Is Neorealism? (2013)
“The only great problem of cinema seems to be more and more, with each film, when and why to start a shot and when and why to end it.” – Jean-Luc Godard
Created for Sight & Sound / British Film Institute
Wes Anderson // Centered (2014)
“I have a way of filming things and staging them and designing sets. There were times when I thought I should change my approach, but in fact, this is what I like to do. It's sort of like my handwriting as a movie director. And somewhere along the way, I think I've made the decision: I'm going to write in my own handwriting. That's just sort of my way.” – Wes Anderson
Music: The New Lobby Boy by Alexandre Desplat
Hands of Bresson
“The things one can express with the hands...” – Robert Bresson
“A work of archival criticism that forgoes the language of rigour for that of rapture... here are hands - votive, tender, purloining, trembling – that make me want to raise my own hands in gratitude to this mysterious poet.” - Sukhdev Sandhu, Sight & Sound (best films of 2014)
Music: Schubert, Piano Sonata No. 20, D. 959
Created for the Criterion Collection
Trick or Truth (2014)
"I wanted to write a fantasy with the atomic bomb as the theme." – Nobuhiko Obayashi
Created for the Criterion Collection
Eyes of Hitchcock (2014)
When characters stare at the camera in the films of Alfred Hitchcock, the look is almost always associated with the threat of death (through the eyes of a victim, a murderer, a witness). This momentary suspension between death and life is partly what makes Hitchcock the indisputable master of suspense.
Music: Anything can happen, and usually does... On the Orient Express by Rob Cawley
Created for the Criterion Collection
Auteur in Space (2015)
“In all my films, it seemed important to me to remind the audience to the fact that they are not alone, lost in an empty universe, but that they are connected by innumerable threads with their past and present, that through certain mystical ways, every human being realizes the rapport with the world and the life of humanity.” – Andrei Tarkovsky
Created for the British Film Institute
Mirrors of Bergman (2015)
Sylvia Plath based her poem “Three Women“ on Ingmar Bergman's Brink of Life (1958). The idea of Plath watching and engaging the women of Bergman is almost too much to bear. Who would have more to say about these women than Plath?
Poem: “The Mirror" by Sylvia Plath
Music: Vivaldi, Concerto for Two Mandolins in G RV532
Created for the Criterion Collection
Godard in Fragments (2016)
Regular Criterion Collection contributor :: kogonada explores the 1960s work of Jean-Luc Godard, highlighting the iconic director’s signature themes and devices.
The filmmaking career of Godard is a cinematic record of increasing fragmentation as part philosophy, part resistance, part aesthetic, part madness, part genius – a way of making sense and nonsense of our so-called reality.
Created for the Criterion Collection
Linklater // On Cinema & Time (2016)
If cinema is the art of time, Linklater is one of its most thoughtful and engaged directors. Unlike other filmmakers identified as auteurs, Linklater’s distinction is not found on the surface of his films, in a visual style or signature shot, but rather in their DNA, as ongoing conversations with cinema, which is to say, time itself.
Created for Sight & Sound / BFI
My extended conversation with Linklater on Boyhood.
: https://medium.com/@kogonada/linklater-on-boyhood-fb60e357083e#.rrj84g13u
Way of Ozu
“I have always said that I only make tofu because I am a tofu maker. One person cannot make so many different kinds of films. It is possible to eat many different types from around the world at a restaurant in a Japanese department store, but as a result of this overly abundant selection the quality of the food and its taste suffers. Filmmaking is the same way. Even if my films appear to all be the same, I am always trying to express something new, and I have a new interest in each film. I am like a painter who keeps painting the same rose over and over again.” – Yasujiro Ozu
kogonada
cinema is not a thing; it's a way.
kogonada.com
https://vimeo.com/kogonadahttps://vimeo.com/kogona
Vimeo
vimeo.com
kogonada (kogonada@) / 트위터
I can't be a fish.
twitter.com
https://missingozu.tumblr.com/
::
missingozu.tumblr.com
