JEONJU Intl. Film Festival

JEONJU Conference 2022 Overview

If we accept the statement that films are the full and complete representation of reality, a desire to build an illusion about the outside world, it can be said that films are the result of the representation of reality using the technology that emerged from that time. In addition, looking back on the history of cinema, films were born by technology and their form has changed according to the development of that technology. If we have accepted the evolution of film as a continuous aspect rather than as a segment of the medium, VR technology can also be accepted as part of the continuation of the film.

The biggest difference between VR films and established film form is the ‘interactive’ element. In VR films, the user is not simply an accommodating audience but can change ‘what is seen’ and becomes an agent who can change the cinematic experience. New communication between films and audiences through XR technology will dramatically change the way we view the film and the industry ecosystem.

This year’s JEONJU Conference intends to open a discussion under the theme of ‘The Age of Contents: Film Meets XR’ to discuss XR, a concept that collectively refers to virtual reality (VR) and augmented reality (AR). We will discuss the changes in the concept of ‘The Cinematic’, newly positioned audiences in VR films, and alternative measures that immersive media can suggest in media reproduction caused by the emergence of VR, AR, XR technology.

Moreover, we will create a space for discussion between opinion leaders who continues to think of ways to combine film and technology, contents creators, and AR/VR experts. During this AR/VR innovative wave, we are searching for changes in content and its role and want to identify the areas that content creators should consider first as this technology continues to expand. Furthermore, we will experiment with the possibility of screenings through small group screenings of VR films. We will also check the possibility of the coexistence of VR films and theaters.

Program	JEONJU Conference 2022
The Theme of 2022	The Content Era: Films To Meet XR – An Odd and Intriguing Conference
Date	May 2 (Mon)-May 3 (Tue)
Venue	On-site	LAHAN Hotel Jeonju, Ongoeul Hall 3
Venue	Online	Live streaming: JEONJU International Film Festival’s Official YouTube Channel
Hosted/Organized by	Jeonju City, JEONJU International Film Festival, Jeonju IC&CT Industry Promotion Agency (JICA)

Attandance Inforamtion

On-site	Badge holder	Enter with badge
	Audience	Get the attendance sticker at the entrance of the LAHAN Hotel and attach it before entering.
	Admission 20 min before the session start. Due to COVID-19 quarantine, only 50 people can attend on a first-come, first-serve basis. This conference is free of charge.
Online	JEONJU International Film Festival’s Official YouTube Channel

VR Special Screening of JEONJU Conference 2022

With JEONJU Conference 2022 linked, director Gina Kim’s VR special screening will be held.
It takes about 40 min per screening, and the films Tearless, and Bloodless are screened consecutively.
The VR special screening is pre-booked, and up to 3 people can enter per screening.
This special screening is free of charge.

Date	Apr 30 (Sat)-May 3 (Tue), 10:00-17:00 (※13:00~14:00: break due to quarantine)
Venue	8F, Jeonbuk VR·AR Production Support Center (8F, 816, Baekje-daero, Deokjin-gu, Jeonju-si, Jeollabuk-do)
Pre-booking	Apr 25 (Mon) 11:00~ First-come, first-served closing [Pre-booking]

JEONJU Conference 2022 Program

May 2 (Mon)

Time	Program
10:00-12:00	Opening Ceremony
	Opening Message	KIM Seung-su　Festival Chairman of JEONJU IFF
	Greetings	LEE Joondong　Festival Director of JEONJU IFF
	Greetings	LEE Youngro　President of Jeonju IC&CT Industry Promotion Agency
	Congratulatory Message	JEONG Kyoung-mi　Vice President of Korean Creative Content Agency
	Session 1　Genealogy of VR Films
	Moderator	Joyce Heeyong CHO 　Professor, Chung-Ang Univeristy
	Presenter	Sam JEON　CEO, VentaVR
	Presenter	CHUNG Kyungdam　Producer, YLAB PLEX
	Presenter	Chuck CHAE　Director
12:00-13:00	Break
13:00-15:00	Session 2　The Direction of Korean-Style Sound Effects in Films (Co-host: JICA)
	Moderator and Presenter	CHANG Kyusik　Sound Director, VR Sound
	Presenter	HAN Myunghwan　CEO, Wavelab Audio Post
	Presenter	KIM Young-il　CEO, AkdangEban, Inc.
15:00-16:00	Break
16:00-18:00	Session 3　Current Status of Independent and Art Film Distribution: Thinking of Local Cinema (Co-host: Indieground)
	Moderator	LEE Sejin　Programmer, Gwanju Independent Film Theater
	Presenter	KAM Jeongwon　The Secretary-general, Daegu Gyeongbuk Independent Film Association (DIFA)
	Presenter	JANG Byoungsup　Middle Manager, Indiehouse
	Presenter	OH Minwook　Director, Busan Independent Film Association

May 3 (Tue)

Time	Program
10:00-11:30	Session 4　Keynote Lecture: Ethics of New Visual Technology: Making of the US Military 'Comfort Women' Trilogy
	Moderator	KIM Hansang　Professor, Ajou University	English interpretation is provided
	Presenter	Gina KIM　Director/Professor, UCLA
11:30-13:00	Break
13:00-15:00	Session 5　K-Soundscape (Co-host: JICA)
	Moderator and Presenter	KIM Youngil ｜ CEO, KNOISELY
	Presenter	YOON Myungjin　Professor, Dong-Ah Institute of Media and Arts
	Presenter	JEON Kwangpyo　CEO, Resoundcompany
15:00-16:00	Break
16:00-17:30	Session 6　Topology of Korean Local Film
	Moderator	PARK Kunyoung　Director
	Presenter	CHOI Jinyoung　Director
	Presenter	JEONG Jihye　Film Critic
17:30-19:00	Break
19:00-20:30	Session 7　VRscope: Changes of ‘The Cinematic’ in VR Films
	Presenter	William URICCHIO　Professor, MIT
	Moderator and Presenter	KIM Jihoon　Professor, Chung-Ang Univerisity	English interpretation is provided
	Presenter	Mandy ROSE　Professor, University of the West of England in Bristol
	Presenter	SEO Hyun-suk　Professor, Yonsei University

Session 1　Genealogy of VR Films

VR films have been introduced at film festivals and video festivals for the past 10 years, but it was difficult for many people to experience VR. Therefore, it has been difficult to position VR films even within critics and film discourses. JEONJU Conference aims to look back at VR films and find ways to sustain the VR film and content industry through multi-layered discussions of film production, industry, and criticism while collecting scattered VR films.

Moderator

Presenter Joyce Heeyeong CHO ｜ Professor, Chung-Ang University

Dr. Joyce Heeyoung CHO is an assistant professor at Chung-Ang University(CAU) and media policy/financing/producing specialist based in Seoul, Korea. Her previous work experience in the field includes work at CJ CGV, CJ E&M, and Timewise Investment, where she covered extensive range of roles from financing to distributing over 50 local commercial films and other audiovisual works. Before joining CAU, she worked for Busan Asian Film School(AFiS). Her current academic interests include transmedia storytelling, digital storytelling, and media policies.

Movies and VR/AR/XR/Metaverse...

PresenterSam JEON ｜ CEO, VentaVR

The current representative of VentaVR.
VentaVR started as a 3D VR content studio and now produces 3DVR/Volumetric and metaverse contents.
Also co-produced Bloodless, Tearless, and VR film Poison.

Stratum of Korean VR - Looks Back Early

PresenterCHUNG Kyungdam ｜ Producer, YLAB PLEX

Majored in Film/Video theory at the Korea National University of Arts and has continued critic activities since 2019. Currently working as a producer.

Computer as Theater - and the Audience a Cast

PresenterChuck CHAE ｜ Director

Across multiple forms and genres, Chae is pushing the boundaries of film and VR to bring about new types of art and experience. Chae received the Best VR Experience award at the 75th Venice Film Festival for directing Buddy VR. He also directed Korea-China co-production feature film LAPSE (2018, BIFAN Nomination) and VR cinema attraction Follow the White Rabbit (2017, Cannes - Marché du Film). Chae was Executive VFX supervisor for Detective Dee 3, which was nominated for Best Visual Effect award at the 55th Golden Horse Awards. Chae was also the creator behind LG's AI Virtual Human "Reah Keem".

Session 2　The Direction of Korean-Style Sound Effects in Films

Through the project to build a database of Korean-style film sound effects, the database currently has over 27,000 sound effects and provides online services for the effects to be used in films and various other content. Entering the third year of the project, it is time to discuss the present and future direction of Korean sound effects.
(Co-host: Jeonju IC&CT Industry Promotion Agency)

Building up the Database of Korean Film Sound Effects

Moderator and Presenter CHANG Kyusik ｜ Sound Director, VR Sound

Kyusik Chang is working on Spatial Sound Design for virtual space content/console games.
As a chairperson of the Sound Production Division/Student Committee of the Acoustical Society of Korea, continues to research sound technology and enlightenment activities on sound.

Usage of the K-Sound library

PresenterHAN Myunghwan ｜ CEO, Wavelab Audio Post

HAN Myunghwan is the CEO of Wavelab STD and a sound supervisor. He has worked on sound for a number of domestic and foreign films and shows such as Special Delivery and Sweet Home. Since 2010, he has been serving as a supervisor for the Sound Clinic at the Asian Film Academy (AFA).

Current Status and Development Direction of the K-Sound Library

PresenterPresenter KIM Young-Il ｜ CEO, AkdangEban, Inc.

KIM Young-Il is the CEO of AkdangEban, a record label specializing in traditional Korean music, and runs “OdaeO,” a fair music platform for creators, and a recording space called “Studio Paju.” His work was nominated for the Surround Sound and World Music categories at the 54th Annual Grammy Awards, which was the first for a Korean traditional music album.

Session 3　Current Status of Independent and Art Film Distribution: Thinking of Local Cinema 　

In Korea, independent and arthouse films have contributed to bringing diversity to the film industry with more options to the audience. Realizing the social value of cinema, they have made big and small changes in our society. However, the structural monopoly in the industry and Seoul or metropolitan area-centered infrastructure have discouraged independent and arthouse filmmakers when they intend to make films and meet the audience in their own region. This conference is held at the end of the pandemic to discuss the local distribution of independent and arthouse films. Especially, it aims to find cases and measures to discover and nurture local filmmakers, examine local production, circulation, and distribution, and build infrastructure. It is also a chance to discuss immediate measures to expand the circulation and distribution of locally produced films.
(Co-host: Indieground)

Moderator LEE Sejin ｜ Programmer, Gwanju Independent Film Theater

As a programmer of Gwangju Independent Film Theater, he participated in several projects as a producer, including Never Ever Rush (2018), The Hill of Wind (2019), and A Lonely Island in the Distant Sea (2021).

PresenterKAM Jeongwon ｜ The secretary-general, Daegu Gyeongbuk Independent Film Association (DIFA)

Since she started her career in the independent film scene in Daegu, she directed her first short, The New World (2018), and her debut feature, The Train Passed By (2021). As a managing director of Daegu Gyeongbuk Independent Film Association(DIFA) and President of a cooperative Continuity, she has worked on keeping the talk of cinema alive among film people.

PresenterJANG Byongsup ｜ Middle Manger, Indiehouse

Since he participated in the “1st Feature Film Workshop” organized by Indiehouse in 2018, he has worked for Indiehouse and meets with local citizens through films.

PresenterOH Minwook ｜ Director, Busan Independent Film Association

As a filmmaker, he has made films about history, events, war, and cities.

Session 4 　Keynote lecture: Ethics of New Visual Technology: Making of the US Military ‘Comfort Women’ Trilogy

In terms of media representation ethics, questions about the appropriateness of the use of victim images have been continuously raised. In this session, we will explore the production of Tearless and Bloodless, the US Military ‘Comfort Women’ Trilogy by director Gina Kim and think about alternative ways to represent it through VR technology. Moreover, we would like to discuss the possibility of immersive media that encompasses XR, AR, and VR. * Conference-linked VR Special Screening will be held.

Moderator　

PresenterKIM Hansang ｜ Professor, Ajou University

I am a visual sociologist who has delved into archival films, documentary, and culture films. My latest academic interests center on the ethics of representation, especially in using archival audiovisual materials to mediate public memory.

PresenterGina KIM ｜ Director/Professor, UCLA

Gina Kim’s five feature films and works of video art have screened at over 150 international film festivals and venues such as Cannes, Venice, Berlin and Sundance, as well as the MoMA and the Centre Pompidou in Paris. Kim's latest works include a VR trilogy about the U.S. military camp towns in South Korea. As an innovative instructor who uses new media for social justice, she has taught at Harvard University as the first Asian woman in her department. Kim is a professor at the Department of Film, TV and Digital Media at UCLA and conducts masterclasses around the world.

Session 5 　K-Soundscape

In this session, we examine various types of soundscapes and explore their potential as contents made with sound effects. We will learn the value and significance of soundscapes through the discussion of soundscapes with sound experts, who will share their thoughts and opinions on the subject.
(Co-host: Jeonju IC&CT Industry Promotion Agency)

Points of Contact for the Perception of Soundscapes

Moderator and PresenterKIM Youngil ｜ CEO, KNOISELY

KIM Young-il began his career in sound as a mix engineer in Tokyo, Japan. Since then, he has been working as a sound designer and sound engineer based in Seoul, Tokyo, and Cologne. His interests include hanok (traditional Korean house) acoustic environments, stereophonic design, and soundscapes. Recently, he has been collecting natural soundscapes and experimenting with their usability through collaboration with different artists.

Soundscapes! 100 Beautiful Sounds of Korea!

PresenterYOON Myungjin ｜ Professor, Dong-Ah Institute of Media And Arts

YOON Myungjin served as the sound technical director of “Open Concert”, as well as the director of Outside Broadcasting Operations Department, News Technical Operations Department, and Radio Technical Operations Department at the Korean Broadcasting System. He is currently training media professionals as a professor (doctor of Broadcasting Communication Policy) at Dong-Ah Institute of Media and Arts.

Listen Differently

PresenterJEON Kwangpyo ｜ CEO, Resoundcompany

To be announced

Session 6 　Topology of Korean Local Films

In Korea’s independent film scene, there is no clear definition of “Local Cinema.” Film professionals, who reside and work in local cities, have been called and recognized as “local filmmakers.” This session is intended to examine the concept of “locality” and redefine the local cinema to expand its creative boundary.

ModeratorPARK Kunyoung ｜ Director

PARK Genyoung directed a feature To My River (2018), and A Distant Place, a JEONJU Cinema Project 2020.

PresenterCHOI Jinyoung ｜ Director

Born in Jeonju, CHOI Jinyoung studied Sociology and has made short and feature films in Jeonju. Her first feature The Slug was screened at Busan IFF, JEONJU IFF, Seoul Independent Film Festival, and Osaka Asian Film Festival and released in April 2022.

PresenterJEONG Jihye ｜ Film Critic

JEONG Jihye is a film critic. She studied Sociology and Political Science & International Relations at Korea University and received her Master’s degree in History of Political at the Graduate School of the same university. She was a programmer for Seoul IFF and Seoul Intl. Women’s Film Festival. She also joined publications; What will cinema become? Thoughts of 62 people on the Future of Cinema (co-author, 2021) and The Handmaiden Archive Book (co-author and planning, 2017).

Session 7 　VRscope: Changes of ‘The Cinematic’ in VR Films

Since the digital transition of films, many modifications have been made to what has been defined as ‘cinematic.’ VR films are demanding a new perspective and understanding of ‘cinematic’ by making the screen, which has been the medium of films, absent as well. Through this session, we will provide a deep understanding to industry representatives and audiences through rich theoretical discussions on VR films.

The Cinematic and Virtual Reality: Two Peas in a Pod, or Different Species?

PresenterWilliam URICCHIO ｜ Professor, MIT

William URICCHIO is a Professor of Comparative Media Studies at MIT where he is the founder of the MIT Open Documentary Lab and PI of the Co-Creation Studio. His work explores the frontiers of new media, at times using a historical lens and at times by working with interactive and algorithmically generated media forms (interactive documentaries and games in particular). He has received numerous awards for his work including Guggenheim, Humboldt, and Fulbright research fellowships, the Berlin Prize, and the Merkator fellowship. His most recent book, co-authored with Katerina Cizek, is Collective Wisdom: Co-Creating Media for Equity and Justice (MIT Press, 2022).

Synthetic Vision in Virtual Reality Documentaries

Moderator and PresenterKIM Jihoon ｜ Professor, Chung-Ang University

Jihoon Kim is associate professor of cinema and media studies at Chung-ang University. He is the author of Documentary’s Expanded Fields: New Media and the Twenty-First-Century Documentary (Oxford UP, 2022) and Between Film, Video, and the Digital: Hybrid Moving Images in the Post-media Age (Bloomsbury, 2018/16). He is completing his third book, Activism and Post-activism: Korean Documentary Cinema, 1981-2021, which will be the first English-written monograph on the subject, while also developing a new book project, The Cinema of Operations: Film and Moving images in the Post-cinematic Condition.

“We Live in an Ocean of Air” – Immersive Documentary and the More-than-Human

PresenterMandy ROSE ｜ Professor, University of the West of England in Bristol

Mandy Rose is a Professor of Documentary & Digital Cultures in the School of Film & Journalism at UWE Bristol. Her research engages with evolving documentary forms – aesthetics, ethics, audiences, and with the potential of documentary to respond to climate and ecological emergency – highlighting climate justice and fostering connection to the more-than-human world. Mandy spent the first twenty years of her working life in TV and film production, as a sound recordist, producer, director in documentary and factual television. In the early nineties, she co-founded and series-produced the ground-breaking BBC 2 project Video Nation. Since then, she has engaged with the participatory, interactive and immersive potentials of digital nonfiction media, first in a context of media practice, and since 2009, as an academic researcher.

The Aura of Mummies

PresenterSEO Hyun-suk ｜ Professor, Yonsei University

Hyun-Suk Seo’s moving images and performance works as well as writings investigate how senses and space interact with and reconfigure each other. Heterotopia (2010-11), The Divine Prostitution of the Soul (2011), Heartlessly Autumn Wind (2013, Yokohama), From the Sea (2014, Tokyo), among other site-specific performance pieces and exhibitions, question and rework the boundaries of artistic experiences. As extensions of these investigations, his VR projects have been shown at Museum of Modern and Contemporary Art, Seoul Museum of Art, National Theatre Company, and Namsan Art Center, among others. The first phases of his video projects on modernist architecture in the Asian postcolonial contexts have been shown at Gwangju Biennale(2011, 2018), Venice Architecture Biennale(2014, 2018), and DMZ International Documentary Festival(2019). He is the co-author of the books Impossible Dance (2020), Art of the Future (2016), Horror to the Extreme: Changing Boundaries in Asian Cinema (2009) and the co-editor of Ob.scene, the magazine for ‘things out of the scene’. He teaches cinema at Yonsei University.

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