So Far, Yet So Near

A film about the resistance against history, not the history against resistance. The film’s dialogues are excerpted from five essays by Go Han-Yong, the first Dadaist during the Korean colonial period, and Max Stirner’s “The Ego and Its Own,” the cause of Joseon anarchism. Following the trajectory of the floating camera, the film intersects the landscape of contemporary Seoul and the newsreels of modern Gyeongseong (the former name of Seoul). A film about the resistance against history, not the history against resistance. The film’s dialogues are excerpted from five essays by Go Han-Yong, the first Dadaist during the Korean colonial period, and Max Stirner’s “The Ego and Its Own,” the cause of Joseon anarchism. Following the trajectory of the floating camera, the film intersects the landscape of contemporary Seoul and the newsreels of modern Gyeongseong (the former name of Seoul). A film about the resistance against history, not the history against resistance. The film’s dialogues are excerpted from five essays by Go Han-Yong, the first Dadaist during the Korean colonial period, and Max Stirner’s “The Ego and Its Own,” the cause of Joseon anarchism. Following the trajectory of the floating camera, the film intersects the landscape of contemporary Seoul and the newsreels of modern Gyeongseong (the former name of Seoul). A film about the resistance against history, not the history against resistance. The film’s dialogues are excerpted from five essays by Go Han-Yong, the first Dadaist during the Korean colonial period, and Max Stirner’s “The Ego and Its Own,” the cause of Joseon anarchism. Following the trajectory of the floating camera, the film intersects the landscape of contemporary Seoul and the newsreels of modern Gyeongseong (the former name of Seoul).