Abstract This article examines the ways in which several Korean documentary films in the 2010s use archival footage of the distant or recent histories of Korea. It argues that the films testify to what I call the ‘post-vérité’ turn of recent Korean documentaries: an array of experimentations with the forms and aesthetics of documentary, which are distinguished from the vérité style – an activist tradition of Korean independent documentary – but also inherit and renew its commitment to politics and history. As a subcategory of the ‘post-vérité’ turn, I characterise the recent Korean documentary’s increasing uses of found footage as the ‘archival turn’ and argue for its two implications. First, this term suggests that the extensive uses of found footage allow filmmakers to develop other modes of documentary filmmaking – compilation documentary, essay film, and metahistorical documentary – besides the participatory mode distinguished by the supremacy of the camera’s immediate, on-the-spot witnessing of reality. Second, this term indicates that Walter Benjamin’s idea of historiography is shared by the filmmakers, as their appropriation, reassessment, and manipulation of found footage are motivated by the desire to endow it with a new historical perspective in relation to their engagement with the politics of the present.

中文翻译：

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发现镜头的使用和近期韩国纪录片的“档案转向”

摘要 本文考察了 2010 年代的几部韩国纪录片使用韩国遥远或近期历史档案镜头的方式。它认为，这些电影证明了我所说的近期韩国纪录片的“后真实”转向：对纪录片形式和美学的一系列实验，与真实风格不同——韩国独立纪录片的激进传统——但也继承和更新其对政治和历史的承诺。作为“后真实”转向的一个子类别，我将最近韩国纪录片越来越多地使用现成镜头描述为“档案转向”，并论证其两个含义。首先，这个术语表明，大量使用现成的素材允许电影制作人开发其他的纪录片制作模式——汇编纪录片、散文电影和元历史纪录片——除了以相机对现实的直接、现场见证至上为特征的参与模式之外。其次，这个词表明沃尔特·本杰明的历史编纂思想得到了电影制片人的认同，因为他们对已发现的镜头的挪用、重新评估和操纵的动机是希望赋予它与他们参与政治的新历史视角。现在。