ABSTRACT
The act of refusal of capturing and reproducing photography often depicted in Korean cinema during this time period, despite its association with bourgeois leisure activity, signifies Korean cinema's grappling with the truth through time lag/temporality. This chapter expresses that not only the transformation of the technique of investigation has moved beyond a contest between individual and the masses occurred, but also a new era of data-ism that redirects cinema to engender a new subjecthood has emerged. This new subject ends up refashioning more flexible and dividuated identities that terminate the previous era's fascination with disciplinary societies and its struggle against the Panopticon. The socio-economic climate of early eighteenth-century England seems to share common characteristics with those that surround Korean cinema today as more historical films continue to be made. The ascending popularity of body travel genre films enables to conceptualize a recurrent ontological fantasy that, in response to these surveillances and controls, helps decode, mold, and dividuate the individual.
