Le Cinéma français filme l'altérité en Corée du Nord : Le Cas du film Voir le pays du Matin Calme

ABSTRACT

In 2012, the French film made without authorization by hidden camera in North Korea Voir le pays du Matin Calme by Gilles De Maistre presents itself as a “fiction in the real.” Despite its experimental concept confronting an unknown hermetic otherness, why does it stumble on the North Korean reality? Comparing it to Moranbong by C.-J. Bonnardot, the first French film allowed to be made in North Korea (1958) and prepared by the photos of Chris Marker, we try to give an answer by stressing the need to overcome a scopic regime inherited from naturalism and Western positivism with the notions of “montrants” and “montrés,” belief regimes, and veridiction modes.

KEYWORDS:

• Otherness
• French cinema
• North Korea
• realism
• scopic regime; naturalism

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Antoine Coppola

Antoine Coppola is an associate professor at Sungkyunkwan University, Seoul, South Korea, and associate researcher at UMR 8173 (Asia) EHESS CNRS Paris. His recent research focuses on transcultural experiments and comparative studies particularly in Asia. His teaching interests include cinematographic adaptations and the history and esthetics of cinema. He is the author of “Cinéma et dictature” (2016), “L'adaptation transculturelle de Thérèse Raquin” (2015), Ciné-voyage en Corée du Nord (Éditions l'Atelier des Cahiers, 2012), “Le Cinéma Nord-coréen” (2009), Le Cinéma de Guy Debord (Éditions Sulliver, 2002–2006), and Image et pouvoir (Éditions Sulliver, 2005).