Jihoon Kim – författare

Documentary's Expanded Fields: New Media and the Twenty-First-Century Documentary offers a theoretical mapping of contemporary non-standard documentary practices enabled by the proliferation of new digital imaging, lightweight and non-operator digital cameras, multiscreen and interactive interfaces, and web 2.0 platforms. These emergent practices encompass digital data visualizations, digital films that experiment with the deliberate manipulation of photographic records, documentaries based on drone cameras, GoPros, and virtual reality (VR) interfaces, documentary installations in the gallery, interactive documentary (i-doc), citizens' vernacular online videos that document scenes of the protests such as the Arab Spring, the Hong Kong Protests, and the Black Lives Matter Movements, and new activist films, videos, and archiving projects that respond to those political upheavals. Building on the interdisciplinary framework of documentary studies, digital media studies, and contemporary art criticism, Jihoon Kim investigates the ways in which these practices both challenge and update the aesthetic, epistemological, political, and ethical assumptions of traditional film-based documentary. Providing a diverse range of case studies that classify and examine these practices, the book argues that the new media technologies and the experiential platforms outside the movie theater, such as the gallery, the world wide web, and social media services, expand five horizons of documentary cinema: image, vision, dispositif, archive, and activism. This reconfiguration of these five horizons demonstrates that documentary cinema in the age of new media and platforms, which Kim labels as the 'twenty-first-century documentary,' dynamically changes its boundaries while also exploring new experiences of reality and history in times of the contemporary crises across the globe, including the COVID-19 pandemic.

Documentary's Expanded Fields: New Media and the Twenty-First-Century Documentary offers a theoretical mapping of contemporary non-standard documentary practices enabled by the proliferation of new digital imaging, lightweight and non-operator digital cameras, multiscreen and interactive interfaces, and web 2.0 platforms. These emergent practices encompass digital data visualizations, digital films that experiment with the deliberate manipulation of photographic records, documentaries based on drone cameras, GoPros, and virtual reality (VR) interfaces, documentary installations in the gallery, interactive documentary (i-doc), citizens' vernacular online videos that document scenes of the protests such as the Arab Spring, the Hong Kong Protests, and the Black Lives Matter Movements, and new activist films, videos, and archiving projects that respond to those political upheavals. Building on the interdisciplinary framework of documentary studies, digital media studies, and contemporary art criticism, Jihoon Kim investigates the ways in which these practices both challenge and update the aesthetic, epistemological, political, and ethical assumptions of traditional film-based documentary. Providing a diverse range of case studies that classify and examine these practices, the book argues that the new media technologies and the experiential platforms outside the movie theater, such as the gallery, the world wide web, and social media services, expand five horizons of documentary cinema: image, vision, dispositif, archive, and activism. This reconfiguration of these five horizons demonstrates that documentary cinema in the age of new media and platforms, which Kim labels as the 'twenty-first-century documentary,' dynamically changes its boundaries while also exploring new experiences of reality and history in times of the contemporary crises across the globe, including the COVID-19 pandemic.

Documentary''s Expanded Fields: New Media and the Twenty-First-Century Documentary offers a theoretical mapping of contemporary non-standard documentary practices enabled by the proliferation of new digital imaging, lightweight and non-operator digital cameras, multiscreen and interactive interfaces, and web 2.0 platforms. These emergent practices encompass digital data visualizations, digital films that experiment with the deliberate manipulation of photographic records, documentaries based on drone cameras, GoPros, and virtual reality (VR) interfaces, documentary installations in the gallery, interactive documentary (i-doc), citizens'' vernacular online videos that document scenes of the protests such as the Arab Spring, the Hong Kong Protests, and the Black Lives Matter Movements, and new activist films, videos, and archiving projects that respond to those political upheavals. Building on the interdisciplinary framework of documentary studies, digital media studies, and contemporary art criticism, Jihoon Kim investigates the ways in which these practices both challenge and update the aesthetic, epistemological, political, and ethical assumptions of traditional film-based documentary. Providing a diverse range of case studies that classify and examine these practices, the book argues that the new media technologies and the experiential platforms outside the movie theater, such as the gallery, the world wide web, and social media services, expand five horizons of documentary cinema: image, vision, dispositif, archive, and activism. This reconfiguration of these five horizons demonstrates that documentary cinema in the age of new media and platforms, which Kim labels as the ''twenty-first-century documentary,'' dynamically changes its boundaries while also exploring new experiences of reality and history in times of the contemporary crises across the globe, including the COVID-19 pandemic.

Documentary''s Expanded Fields: New Media and the Twenty-First-Century Documentary offers a theoretical mapping of contemporary non-standard documentary practices enabled by the proliferation of new digital imaging, lightweight and non-operator digital cameras, multiscreen and interactive interfaces, and web 2.0 platforms. These emergent practices encompass digital data visualizations, digital films that experiment with the deliberate manipulation of photographic records, documentaries based on drone cameras, GoPros, and virtual reality (VR) interfaces, documentary installations in the gallery, interactive documentary (i-doc), citizens'' vernacular online videos that document scenes of the protests such as the Arab Spring, the Hong Kong Protests, and the Black Lives Matter Movements, and new activist films, videos, and archiving projects that respond to those political upheavals. Building on the interdisciplinary framework of documentary studies, digital media studies, and contemporary art criticism, Jihoon Kim investigates the ways in which these practices both challenge and update the aesthetic, epistemological, political, and ethical assumptions of traditional film-based documentary. Providing a diverse range of case studies that classify and examine these practices, the book argues that the new media technologies and the experiential platforms outside the movie theater, such as the gallery, the world wide web, and social media services, expand five horizons of documentary cinema: image, vision, dispositif, archive, and activism. This reconfiguration of these five horizons demonstrates that documentary cinema in the age of new media and platforms, which Kim labels as the ''twenty-first-century documentary,'' dynamically changes its boundaries while also exploring new experiences of reality and history in times of the contemporary crises across the globe, including the COVID-19 pandemic.

Activism and Post-activism: Korean Documentary Cinema, 1981--2022 is a new book about nonfiction filmmaking in the private and independent sectors of South Korean cinema and media from the early 1980s to the present day. Drawing on the methodologies of documentary studies, experimental film and video, digital cinema, local discourses on independent documentary, and the literature on the social changes of South Korea, author Jihoon Kim historicizes the formation and development of Korean independent documentary in close dialogue with South Korea's social movements. From the 1980s mass anti-dictatorship movement to twenty-first-century labor issues, feminism, LGBT rights, environmental justice, and key events such as the Sewol Ferry disaster and the Candlelight Protests, Kim offers a comprehensive history of Korean social change documentaries in terms of their activist tradition.At the same time, Kim also maps out the formal and aesthetic divergences of twenty-first-century Korean documentary cinema beyond the activist tradition, while also demonstrating how they have inherited and dynamically renewed the tradition's engagement with contested reality and history. Making the tripartite connections between the socio-political history of South Korea, documentary's aesthetics and politics, and the shifting institutional and technological evolution of documentary production and distribution, the book argues that what is unique about this forty-year history of South Korean documentary cinema is the intensive and compressed coevolution of its two interlocked tendencies: activism and post-activism.

Activism and Post-activism: Korean Documentary Cinema, 1981--2022 is a new book about nonfiction filmmaking in the private and independent sectors of South Korean cinema and media from the early 1980s to the present day. Drawing on the methodologies of documentary studies, experimental film and video, digital cinema, local discourses on independent documentary, and the literature on the social changes of South Korea, author Jihoon Kim historicizes the formation and development of Korean independent documentary in close dialogue with South Korea's social movements. From the 1980s mass anti-dictatorship movement to twenty-first-century labor issues, feminism, LGBT rights, environmental justice, and key events such as the Sewol Ferry disaster and the Candlelight Protests, Kim offers a comprehensive history of Korean social change documentaries in terms of their activist tradition.At the same time, Kim also maps out the formal and aesthetic divergences of twenty-first-century Korean documentary cinema beyond the activist tradition, while also demonstrating how they have inherited and dynamically renewed the tradition's engagement with contested reality and history. Making the tripartite connections between the socio-political history of South Korea, documentary's aesthetics and politics, and the shifting institutional and technological evolution of documentary production and distribution, the book argues that what is unique about this forty-year history of South Korean documentary cinema is the intensive and compressed coevolution of its two interlocked tendencies: activism and post-activism.

Activism and Post-activism: Korean Documentary Cinema, 1981--2022 is a new book about nonfiction filmmaking in the private and independent sectors of South Korean cinema and media from the early 1980s to the present day. Drawing on the methodologies of documentary studies, experimental film and video, digital cinema, local discourses on independent documentary, and the literature on the social changes of South Korea, author Jihoon Kim historicizes the formation and development of Korean independent documentary in close dialogue with South Korea''s social movements. From the 1980s mass anti-dictatorship movement to twenty-first-century labor issues, feminism, LGBT rights, environmental justice, and key events such as the Sewol Ferry disaster and the Candlelight Protests, Kim offers a comprehensive history of Korean social change documentaries in terms of their activist tradition.At the same time, Kim also maps out the formal and aesthetic divergences of twenty-first-century Korean documentary cinema beyond the activist tradition, while also demonstrating how they have inherited and dynamically renewed the tradition''s engagement with contested reality and history. Making the tripartite connections between the socio-political history of South Korea, documentary''s aesthetics and politics, and the shifting institutional and technological evolution of documentary production and distribution, the book argues that what is unique about this forty-year history of South Korean documentary cinema is the intensive and compressed coevolution of its two interlocked tendencies: activism and post-activism.

Activism and Post-activism: Korean Documentary Cinema, 1981--2022 is a new book about nonfiction filmmaking in the private and independent sectors of South Korean cinema and media from the early 1980s to the present day. Drawing on the methodologies of documentary studies, experimental film and video, digital cinema, local discourses on independent documentary, and the literature on the social changes of South Korea, author Jihoon Kim historicizes the formation and development of Korean independent documentary in close dialogue with South Korea''s social movements. From the 1980s mass anti-dictatorship movement to twenty-first-century labor issues, feminism, LGBT rights, environmental justice, and key events such as the Sewol Ferry disaster and the Candlelight Protests, Kim offers a comprehensive history of Korean social change documentaries in terms of their activist tradition.At the same time, Kim also maps out the formal and aesthetic divergences of twenty-first-century Korean documentary cinema beyond the activist tradition, while also demonstrating how they have inherited and dynamically renewed the tradition''s engagement with contested reality and history. Making the tripartite connections between the socio-political history of South Korea, documentary''s aesthetics and politics, and the shifting institutional and technological evolution of documentary production and distribution, the book argues that what is unique about this forty-year history of South Korean documentary cinema is the intensive and compressed coevolution of its two interlocked tendencies: activism and post-activism.

The oil and gas sector is a vital player in the energy transition. With their vast resource potential, unconventional shale plays will be an essential part in enabling this change. Unconventional Resources serves as a comprehensive reference covering the latest technologies, methodologies, and applications of unconventional shale resources in the oil and gas industry, and their role in the evolution of the sector's energy transition.This book:Offers an overview of geophysics, geology, and reservoir characterization in unconventional resourcesDiscusses drilling, well stimulation and completion, production engineering, and artificial liftCovers reservoir management and surveillance, recovery enhancement, production forecasting, and surface facilities and testingDetails technical and technological advances, including machine learning, AI, data analytics, and Industry 4.0Explores the latest methods/workflows in performance analysis in unconventional playsEmploys integrated and hybrid approaches to the energy transitionThe book provides surface and subsurface technical professionals in the oil and gas industry a thorough overview of unconventionals along with the integrated/hybrid applications that will enable them to stay current with the industry's transition.

The oil and gas sector is a vital player in the energy transition. With their vast resource potential, unconventional shale plays will be an essential part in enabling this change. Unconventional Resources serves as a comprehensive reference covering the latest technologies, methodologies, and applications of unconventional shale resources in the oil and gas industry, and their role in the evolution of the sector''s energy transition.

This book:

Offers an overview of geophysics, geology, and reservoir characterization in unconventional resources Discusses drilling, well stimulation and completion, production engineering, and artificial lift Covers reservoir management and surveillance, recovery enhancement, production forecasting, and surface facilities and testing Details technical and technological advances, including machine learning, AI, data analytics, and Industry 4.0 Explores the latest methods/workflows in performance analysis in unconventional plays Employs integrated and hybrid approaches to the energy transition

The book provides surface and subsurface technical professionals in the oil and gas industry a thorough overview of unconventionals along with the integrated/hybrid applications that will enable them to stay current with the industry''s transition.

The oil and gas sector is a vital player in the energy transition. With their vast resource potential, unconventional shale plays will be an essential part in enabling this change. Unconventional Resources serves as a comprehensive reference covering the latest technologies, methodologies, and applications of unconventional shale resources in the oil and gas industry, and their role in the evolution of the sector''s energy transition.

This book:

Offers an overview of geophysics, geology, and reservoir characterization in unconventional resources Discusses drilling, well stimulation and completion, production engineering, and artificial lift Covers reservoir management and surveillance, recovery enhancement, production forecasting, and surface facilities and testing Details technical and technological advances, including machine learning, AI, data analytics, and Industry 4.0 Explores the latest methods/workflows in performance analysis in unconventional plays Employs integrated and hybrid approaches to the energy transition

The book provides surface and subsurface technical professionals in the oil and gas industry a thorough overview of unconventionals along with the integrated/hybrid applications that will enable them to stay current with the industry''s transition.

Encompassing experimental film and video, essay film, gallery-based installation art, and digital art, Jihoon Kim establishes the concept of hybrid moving images as an array of impure images shaped by the encounters and negotiations between different media, while also using it to explore various theoretical issues, such as stillness and movement, indexicality, abstraction, materiality, afterlives of the celluloid cinema, archive, memory, apparatus, and the concept of medium as such. Grounding its study in interdisciplinary framework of film studies, media studies, and contemporary art criticism, Between Film, Video, and the Digital offers a fresh insight on the post-media conditions of film and video under the pervasive influences of digital technologies, as well as on the crucial roles of media hybridity in the creative processes of giving birth to the emerging forms of the moving image. Incorporating in-depth readings of recent works by more than thirty artists and filmmakers, including Jim Campbell, Bill Viola, Sam Taylor-Johnson, David Claerbout, Fiona Tan, Takeshi Murata, Jennifer West, Ken Jacobs, Christoph Girardet and Matthias Müller, Hito Steyerl, Lynne Sachs, Harun Farocki, Doug Aitken, Douglas Gordon, Stan Douglas, Candice Breitz, among others, the book is the essential scholarly monograph for understanding how digital technologies simultaneously depend on and differ film previous time-based media, and how this juncture of similarities and differences signals a new regime of the art of the moving image.

Encompassing experimental film and video, essay film, gallery-based installation art, and digital art, Jihoon Kim establishes the concept of hybrid moving images as an array of impure images shaped by the encounters and negotiations between different media, while also using it to explore various theoretical issues, such as stillness and movement, indexicality, abstraction, materiality, afterlives of the celluloid cinema, archive, memory, apparatus, and the concept of medium as such. Grounding its study in interdisciplinary framework of film studies, media studies, and contemporary art criticism, Between Film, Video, and the Digital offers a fresh insight on the post-media conditions of film and video under the pervasive influences of digital technologies, as well as on the crucial roles of media hybridity in the creative processes of giving birth to the emerging forms of the moving image. Incorporating in-depth readings of recent works by more than thirty artists and filmmakers, including Jim Campbell, Bill Viola, Sam Taylor-Johnson, David Claerbout, Fiona Tan, Takeshi Murata, Jennifer West, Ken Jacobs, Christoph Girardet and Matthias Müller, Hito Steyerl, Lynne Sachs, Harun Farocki, Doug Aitken, Douglas Gordon, Stan Douglas, Candice Breitz, among others, the book is the essential scholarly monograph for understanding how digital technologies simultaneously depend on and differ film previous time-based media, and how this juncture of similarities and differences signals a new regime of the art of the moving image.

Encompassing experimental film and video, essay film, gallery-based installation art, and digital art, Jihoon Kim establishes the concept of hybrid moving images as an array of impure images shaped by the encounters and negotiations between different media, while also using it to explore various theoretical issues, such as stillness and movement, indexicality, abstraction, materiality, afterlives of the celluloid cinema, archive, memory, apparatus, and the concept of medium as such. Grounding its study in interdisciplinary framework of film studies, media studies, and contemporary art criticism, Between Film, Video, and the Digital offers a fresh insight on the post-media conditions of film and video under the pervasive influences of digital technologies, as well as on the crucial roles of media hybridity in the creative processes of giving birth to the emerging forms of the moving image. Incorporating in-depth readings of recent works by more than thirty artists and filmmakers, including Jim Campbell, Bill Viola, Sam Taylor-Johnson, David Claerbout, Fiona Tan, Takeshi Murata, Jennifer West, Ken Jacobs, Christoph Girardet and Matthias Müller, Hito Steyerl, Lynne Sachs, Harun Farocki, Doug Aitken, Douglas Gordon, Stan Douglas, Candice Breitz, among others, the book is the essential scholarly monograph for understanding how digital technologies simultaneously depend on and differ film previous time-based media, and how this juncture of similarities and differences signals a new regime of the art of the moving image.

Encompassing experimental film and video, essay film, gallery-based installation art, and digital art, Jihoon Kim establishes the concept of hybrid moving images as an array of impure images shaped by the encounters and negotiations between different media, while also using it to explore various theoretical issues, such as stillness and movement, indexicality, abstraction, materiality, afterlives of the celluloid cinema, archive, memory, apparatus, and the concept of medium as such. Grounding its study in interdisciplinary framework of film studies, media studies, and contemporary art criticism, Between Film, Video, and the Digital offers a fresh insight on the post-media conditions of film and video under the pervasive influences of digital technologies, as well as on the crucial roles of media hybridity in the creative processes of giving birth to the emerging forms of the moving image. Incorporating in-depth readings of recent works by more than thirty artists and filmmakers, including Jim Campbell, Bill Viola, Sam Taylor-Johnson, David Claerbout, Fiona Tan, Takeshi Murata, Jennifer West, Ken Jacobs, Christoph Girardet and Matthias Müller, Hito Steyerl, Lynne Sachs, Harun Farocki, Doug Aitken, Douglas Gordon, Stan Douglas, Candice Breitz, among others, the book is the essential scholarly monograph for understanding how digital technologies simultaneously depend on and differ film previous time-based media, and how this juncture of similarities and differences signals a new regime of the art of the moving image.

In this book, Jihoon Kim introduces new concepts to describe the unique blend of statistical precision and seemingly magical effects in generative AI. Generative AI models—such as GPT-4o for text, DALL·E and Midjourney for images, and SORA for video—are artificial intelligence systems that create new content based on patterns they’ve learned from vast amounts of data. Unlike traditional software, they don’t follow fixed rules but use deep learning to generate realistic text, images, and videos in response to user prompts. While they open new creative possibilities, they also raise concerns about misinformation, bias, labor exploitation, and resource consumption. Are these models just advanced digital tools, or do they represent a deeper shift in how we create and experience media?Much like early photography once seemed uncanny, AI-generated content feels both familiar and otherworldly. Exploring how these models are reshaping photography, cinema, and visual culture, Kim challenges claims that AI is approaching human intelligence. Instead, he encourages readers to look critically at how AI functions and what it means for art and creativity. Drawing from AI research, media history, and art theory, this book offers a fresh, accessible perspective on the impact of generative AI on our world.