Home Permanent Exhibition Blossoming Auteurism
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Section 2 explores the period when IM established a film world of his own through his unique world view
and style. Materials testifying to the world’s recognition of his genius are displayed Alongside decades-old
screenplays and original novels. Visitors can listen to a variety of screen music together with scenes from
IM’s films.
Over a decade of producing trendy genre films for a living as a hired director drove IM Kwon-taek into despair. In the mid-1970s, tormented by
fundamental doubts over his occupation, he moved away from a "technician (or craftsman)" mechanically stamping out similar films. He was
slowly turning into a "film auteur" depicting the world with his own perspective and style.
Two Pivotal Works: Weeds (1973) and Genealigy (1978)
IM Kwon-taek's cherished dream was to create films that only a Korean could make.
In order to project the rhythm, emotions and mentality of the Korean life onto his films,
he repeatedly experimented with the subject, narrative and form of films. His search for
the universal through the uniquely Korean first bore fruit in two films - Weeds (1973)
and Genealogy (1978).
IM personally regards Weeds as his true debut film, since it was both directed and produced by him. Unfortunately, the film was lost, and only
the screenplay remains today.
Three All-consuming Discourses: Aesthetics of the Road, Depth of Field, Philosophy of Humanism
As his consciousness as a director grew stronger, Im Kwon-taek focused on creating the most suitable vessel to contain the history, culture and
thoughts of Korea. Thus, while creating narratives grounded in humanism, he continued to develop and refine a film form that corresponded with
his worldview. His exploration manifested in images of the road as a metaphor for life and the embodiment of depth of field as a representation
of the depth of life.