ABSTRACT Hong Sang-soo’s films are famous for their persistent exploration of failed personal relationships. Hong’s obsessive passion for baring the truth about men and women in contemporary South Korea drives his experiments in narration, minimalist aesthetic, and improvisational style. Hong’s films are the antidote to syrupy date films; stripped of romance, even the occasional meet-cute scenes quickly sour and expire. Sex scenes are awkward and passionless, every chance encounter leading to drunken folly and disillusionment, and rarely do characters actually evolve. It is striking that Hong stubbornly refuses to inject any sentimentality into the meetings of men and women; and yet he appears to be under some compulsion to revisit these same stories again and again. This article approaches Hong’s work as an update and revision of the classical romantic comedy. It prioritizes Hong’s candid look at human weaknesses and insecurities and how he seeks to dismantle any idealized vision of two perfect strangers coming together happily. By bracketing Hong’s films as a deconstruction of the long-standing traditions that mythologize true love, the article identifies the dialogic relationship of these films to the romantic comedy genre, and interprets their idiosyncratic structure and style as an explicit critique of modern love.

中文翻译：

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尴尬的事实：洪尚s电影中的浪漫失败和脱钩的艺术

摘要洪相s的电影因不断探索失败的人际关系而闻名。Hong对当代韩国男人和女人的真相的狂热追求驱使他在旁白，简约美学和即兴风格方面进行实验。洪的电影是糖浆枣电影的解毒剂。失去了浪漫，即使是偶尔见面的场景也很快变酸并消失了。性爱场面尴尬而无聊，每次碰碰都会导致醉酒的愚蠢和幻灭，而且角色实际上很少进化。令人惊讶的是，洪Hong强地拒绝在男女会议上注入任何感性。然而，他似乎不得不一次又一次地重新审视这些相同的故事。本文将洪的工作作为古典浪漫喜剧的更新和修订。它优先考虑了洪对人类弱点和不安全感的坦率观察，以及他如何设法消除两个完美的陌生人快乐相聚的理想化愿景。通过将洪氏的电影归类为对神话中真实爱情的悠久传统的解构，本文确定了这些电影与浪漫喜剧类型的对话关系，并将其特有的结构和风格解释为对现代爱情的明确批判。