[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"tmdb:person\u002F1668531:{\"language\":\"en-US\",\"append_to_response\":\"combined_credits,images\"}":3},{"adult":4,"also_known_as":5,"biography":6,"birthday":7,"deathday":7,"gender":8,"homepage":7,"id":9,"imdb_id":7,"known_for_department":10,"name":11,"place_of_birth":7,"popularity":12,"profile_path":7,"combined_credits":13,"images":107},false,[],"Kwang-Ju Son is an artist and filmmaker whose work embraces a wide range of filmmaking modes such as fiction, documentary, experimental film and installation. She works on film and video projects to unlearn the stubbornly persistent illusion of linear progression, attempting to conceptualize discontinuity and investigate how space and time are inextricably linked. Since The Third Tongue(2003), she has presented her varied projects of film and video at diverse venues and international film festivals: Seoul Museum of Art(SeMA) Bunker(2022, 2018), Atelier Hermès(2020), National Museum of Modern and Contemporary Art(MMCA), JCC Art Center (2018), Arko Art Center(2016), Swatch Faces 2015 (2015), International Film Festival Rotterdam(2011, 2007, 2005), International Documentary Film Festival Amsterdam(2007), International Short Film Festival Oberhausen(2005), Busan International Film Festival(2008, 2004, 2003) and Jeonju International Film Festival(2011, 2008, 2007). 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Despite repeating cheesy stories full of stereotypical characters, Moh wants to constantly believe his film to have something new and to be based on the reality. That makes Moh as well as Soo-Yeon feel exhausted. Soo-Yeon carefully dreams to emancipate characters from story, but she realizes that her dream is only treated as a 'feminine' vanity in reality.",0.8279,"\u002Ft6FzdikCNLYrLDcrdOIdgPHsV3B.jpg","2011-11-17","57b8ddc8c3a3685c15000eda",{"adult":4,"backdrop_path":7,"genre_ids":87,"id":89,"title":90,"original_language":56,"original_title":91,"overview":92,"popularity":93,"poster_path":94,"release_date":95,"softcore":4,"video":4,"vote_average":8,"vote_count":8,"credit_id":96,"department":10,"job":36,"media_type":27},[88],99,1489845,"Fragmentary Landscapes","파편의 경치","Observations of deserted landscapes, a busy city, a zoo, a suburb and a cemetery together evoke an image of America.",0.8146,"\u002F2LRpWxav2Gk5GpnNoQP9oKfcFn0.jpg","2007-06-05","6aa4f763496dc32ab9d53699",{"adult":4,"backdrop_path":7,"genre_ids":98,"id":99,"title":100,"original_language":20,"original_title":101,"overview":102,"popularity":103,"poster_path":104,"release_date":105,"softcore":4,"video":4,"vote_average":8,"vote_count":8,"credit_id":106,"department":10,"job":36,"media_type":27},[],576929,"A Room Without Mirrors","거울 없는 방","Focusing on the aspect of ‘no records found’ about the hidden underground bunker discovered in 2005, A Room Without Mirrors tells a story about the bunker personified as a fictitious political prisoner who doesn’t remember anything about its past. The Agency, who does not concede the situation in which the bunker has to exist in itself without any purpose or reason, forces it to fabricate its blank history with numerous records perhaps not directly related to it. In years-long interrogation, the bunker decides to make up a story, staying as close to the truth as possible. Employing news archives and sounds in the 1970s, A Room without Mirrors portrays our childhood memories of rupture, trauma, and loss, not to reconstruct an original image of the past but to trace how the past is signified and forgotten.",0.781,"\u002FhAmDc0x01WUvv1QAfO685K7oQaA.jpg","2018-01-22","6aa4f7a318a2bec17d35d928",{"profiles":108},[]]