여러 직원들 사이, 유난히 바쁜 공무원 김하진 씨. 탑처럼 쌓인 우편들과 끊임없는 민원들 모두 혼자서 감당하기 버거운 양이지만 동료, 상사할 것 없이 당연하듯 그녀를 방관하고 있다. 특별히 잘못한 것도 실수한 것도 없지만 계속되는 구박과 비판들, 심지어 협박까지. 하진은 점차 왠지 모를 불안함에 잠식이 되어간다. 2019년 7월 18일, 울국 시청 공무원 김하진 씨의 이야기.

A human carelessly throws a stone and kills a frog, but then the frog returns to life and takes revenge on the human.

暂无剧情简介

In 2012, the Saenuri Party won the election and took power. But after the defeat in the election in 2016 and the subsequent impeachment, the regime changed over to the Democratic Party. What will be the result of the parliamentary election in 2020?

《개뼈다귀》是韩国Chanel A电视台放送的一档节目。

Just 0.2 seconds after a sound wave reaches the cochlea, the brain interprets the vibrations as a sound with unique qualities of distance, direction and speed. The emotions and meanings we attach to each sound are subjective. 　　Hyejin Jung realized this when she started hearing a constant buzzing in her right ear. Her doctor's explanation was that her ear was becoming a machine. While at the hospital she met Somchai, a construction worker with the same complaint, and they started to compare the ways their bodies sound on the inside. 　　In this fusion of medical reporting, societal reflection, soundscape, and personal poetic self-examination Jung reveals through image and sound just how thin the dividing line is between sound and noise. Going beyond her own, individual experience—which ranges from mind-blowing to claustrophobic—she argues that the powers that be regard the voices of marginalized people (who often perform work that causes hearing damage) as noise, and combat it as such.

This expanded cinema explores the hypnotic grip of film and questions its role in shaping our memories and perceptions long after the credits roll. 　　In Undercurrent’s first-ever expanded cinema piece, performer-director HeeSue Kwon reimagines the filmic experience. The projector extends itself beyond a mechanical device: it transforms into a living entity, reanimating the collective memories of its audience. Through Kwon’s live manipulation of flickers and intervals, the cinematic apparatus gains autonomy, continuously looping and coming alive. 　　Using a reverse diffusion model, Melting Fire Iceman employs AI to portray the fluid, shifting nature of cinema’s core memories. Early films, drawn from online repositories and the Korean Film Archive, are dissolved and reimagined by AI, seemingly in an infinite cycle of rebirth. In this mesmerising process, the boundaries between memory, spectatorship and the cinematic experience are redefined.