Home » [리뷰] Between humans and robots, the memory device called “After Yang”

[리뷰] Between humans and robots, the memory device called “After Yang”

by Pansy Robbins

In Philip K. Dick’s novel Do Androids Dream of Electric Sheep?, bounty hunter Rick Deckard asks, “Do androids dream too?” In , director Kogonada asks a different question. Do you also remember Android? The near future that envisions is a society in which highly developed Techno Sapiens are universal. They are intelligent bodies that are distributed to multiracial and multicultural families and are active as “second brothers and sisters” that awaken the heritage of countries around the world, and they are organisms that decay if left unsupervised for a long time. Jake (Colin Farrell), who owns a tea shop, and Keira (Jodie Turnersmith), a business executive, also support their adopted Chinese daughter Mika (Malea Emma Chandrowjaya), a Chinese android Yang (Justin H. Min). With As the title of Alexander Weinstein’s original novel, the film slowly observes the aftermath of “farewell to the sheep” suddenly reaching the family one day. As Jake roams the repair shop, he discovers that there is a hidden memory in the sheep’s heart, and the refurbished old sheep is yet another age. “I wish cars weren’t just acquaintances. I wish I had real memories. About place and time. Miss Android’s desires only come to light when he is no longer working.

As in Kogonada already reveals the visualist aspect of the refinement of time and space through the framing in . The calm, drowsiness and fleeting vigor of everyday life are portrayed in this film in a more detailed and seductive way. The choice to move away from metallic staging and the trend towards minimalism, which sci-fi films often rely on, also matches the storytelling with fluidity. The characters of wear natural dyed cotton fabrics and stroll through the afternoon grass and the living room at dawn, and the journey to explore the sheep’s digital memory is expressed as a dream of traveling through the Milky Way.

There’s also a cool irony, like the scene where a sheep collapses right after a comedic and dynamic family dance scene. The fact that the deep undercurrent of daily life, which seems peaceful and lyrical, also flows with an ominous character, is an important sense that After Yang presents early. It’s also interesting work as a political metaphor for how future society deftly erases dystopian reality. Meanwhile, a robot that long remembers and mourns the humans who lost it often comes up against unique editing techniques. Kogonada’s imagination of the human-machine memory method induces observation and exploration instead of immersion in multiple scenes where the same moment is repeated from different perspectives. The somewhat rough grammar that is possible because the director edited it himself is the sure personality that maintains the afterimage of sustainable.

a famous line

“Can I be honest? I’m doing well. Even if there is nothing at the end.

: A Yang Android’s thoughts on Lao Tzu’s saying, “It’s the end for the caterpillar, but the beginning for the butterfly.”



Singer Lily Shushu, created by director Shunji Iwai, was revived 20 years later by techno sapiens wearing T-shirts honoring her in After Sheep. , a song the lonely boy Yuichi relied on to care for his soul, this time becomes a devious song that connects the sheep and the Mika siblings, and comforts the characters who are lost. Following a fictional existence that emerged as part of the turn-of-the-century “Y2K Project” and seeped into the latest science fiction, the future of Kogonada calls for as far-fetched nostalgia as ever.

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