铁梦

A love story comes to an end when a woman sets out in search of a shamanic god. Director Kelvin Kyung Kun Park takes the trauma of a spurned lover as the starting point for his own search for a god. He makes several finds across various narrative strands – among whales in the sea, in a shipyard, at a steelworks. All of them are giants of their respective times: vast, sublime, godlike.


　　Park's imagery also evokes the divine: embers and steel, sparks and fire; people dwarved by huge cogwheels, robbed of their individuality. A brave new world in which workers produce modern industrial goods, even as industry has long since been producing the modern worker. Work is a god we have submitted to. Yet every existence is temporary and fleeting, which applies in equal measure to both relationships and gods.


　　Cheol-ae-kum carries a unique signature. Park weaves together his different narrative strands into a complex documentary work of shamans and propellers, whales and industrial halls. His editing suite comes to resemble a piece of welding equipment, the soundtrack a commanding symphony of industrial noise, whale song, Gustav Mahler and shamanic songs.

半小时可以，半小时神作，剩下半小时不晓得在干啥

非常喜欢的纪录片 课上写了一大堆分析 作业丢了又全都忘了 / 工厂里机械碰撞声 海洋里鲸鱼叫声 还有庙宇里的诵经和钟声 非常奇妙的体验

重工業美學的再發現，視聽覺美感大於精神線索的體驗。雖然導演最初從“神”出發開始探索，但實在感覺和宗教並沒有什麼聯繫。海洋，工業(現場與辦公室，工人與文職)，宗教最後還是互相分離的狀態，顯得雜亂。舊視頻剪輯段落及工人群像還有些意思。0623KOFA

团队有时相当简易地用dslr拍的片 有些部分声音也出问题 导演的初剪版可以说什么都没有， 再编辑后一举拿奖，是一部被国外媒体赞扬的纪录片。此片在首尔独立剧场上映时 导演讲说 其实他也没有整理好思路 可是就是这样了 。 想到教授说的话就像坐公车背景音乐我倒是很喜欢 其他更深的感触于我却没什么

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