Empty House
Bin Chip

Korea, USA / 1999 / English/ Color / 16mm (orig. Video) / 24 min

Director, Script, Photography, Sound, Editing, Producer:
Gina Kim
Source: Gina Kim
23 Harvey Ct., Irvine, CA 92612 USA.
Phone & Fax: 1-949-725-0494
E-mail: kina@home.com

Gina Kim

Born in 1973. Graduated from Seoul National University in 1996, majored in Fine Art, and graduated from the Film and Video Department's Live Action Program MFA at California Institute of the Arts in 1999. Directed Heroine (1995), Video Diary Series (Door, Citrus, Walking, 1997), Flying Appetite (1998) and others. Empty House has been shown at Seoul Women's Film Festival (1999) and PIA Film Festival (Tokyo, 1999). Currently working on Red Shoes; a personal documentary based on a video diary, exploring turbulent family history through maternal lineage.

Waking up in the afternoon with a bloated face, full of self-loathing after a night of compulsive over-eating... The video diary depicts an afternoon in a young woman's flat, her fears and fantasies about her body plainly revealed.

Director's Statement

Edited from video diary footage shot in one day. The piece is divided into two parts. The first part is shot mostly in blue tones, featuring everyday activities such as waking up, going to the bathroom, and hanging a mirror. During the second part, shot mostly in yellow, I compulsively eat while I fantasize touching every corner of the apartment. The film juxtaposes containment, order, and banality with obsession, desire and an explosive tendency for self-destruction. The "diary" depicts the violent fracture of the female subject "I." One constantly waits for the letter that never arrives, for the menstrual period that arrives late, and the self-fulfillment of the perfect body that is never satiated. And the other, exhausted from the wait, disperses into the self-effacement of depression, eating disorder and PMS, transmuting an endless sound of obsessive eating and images of hopeless defect. The representation of the body"registered entirely through fragmented body parts"anchors the fulcrum of the "self" and enunciates a feminist language of "corporeal cinema."
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COPYRIGHT:Yamagata International Documentary Film Festival Organizing Committee