In this blog post, we will examine the ambiguous relationship between fiction film and documentary, focusing on director Kim Ki-duk’s ‘Arirang’.
The Traditional Distinction Between Fiction Film and Documentary
Generally, a feature film is created by filming a story based on a script and acting, whereas a documentary focuses on observing and capturing spontaneous situations and actions. There is a broad distinction: feature films are the result of intentional direction and acting, while documentaries are the result of observation and documentation.
However, the relationship between these two genres is far more complex than a simple division would suggest. Depending on the filming style, format, and directorial intent, elements of both genres may coexist within a single work, and the boundaries between them may blur as they borrow techniques from one another.
The Background and Production Context of ‘Arirang’
Director Kim Ki-duk’s ‘Arirang’ is a film he created to capture the period during which he retreated to the mountains and spent three years wrestling with his thoughts on cinema and himself. A defining feature of this film is that it was made in a way that was feasible given his circumstances, rather than strictly adhering to the conventions of commercial or typical narrative cinema.
As the director himself notes, the film is underpinned by the paradoxical narrative that Kim Ki-duk, who originally knew little about film, went on to become a master filmmaker. ‘Arirang’ is both a record of the director’s daily life and inner turmoil captured on camera, and a work interwoven with scenes he directed himself.
The Generic Hybridity Revealed in ‘Arirang’
‘Arirang’ possesses elements of both explanatory and observational documentary. The director stages scenes in which he explains himself while simultaneously observing himself. The scene where another Kim Ki-duk sits beside the one drinking and wailing, scolding him, embodies both the emotions of a real person and the nature of a constructed performance.
The scene where two Kim Ki-duks coexist in the same space, while another Kim Ki-duk watches them on a monitor, transcends the typical documentary interview or observational scene and expands into a cinematic moment infused with fantasy. In other words, building on the authenticity and factuality of the documentary, it uses the imagination of a narrative film to express inner emotions that are difficult to convey directly.
For example, the scene where he decorates his home, builds machines, and crafts a gun to vent his anger is a fictional scene that differs in tone from the depictions of real life found in the documentary. On the other hand, the scenes of the director living at home convey a sense of reality, much like the observational footage seen in nature documentaries. In this way, the strengths of both styles are blended within a single work.
In the film itself, the director describes ‘Arirang’ as belonging to various genres; ultimately, this work is interpreted as a hybrid form that strongly incorporates documentary elements while embracing the structure and fantasy of a feature film.
Personal Reflection and Conclusion: Fusion Over Boundaries
I don’t know much about documentaries. As a child, I was primarily exposed to the documentary format through nature documentaries, and that initial interest led me to follow the flow of the narrative. Despite this personal background, what I felt while watching ‘Arirang’ was not the definition of boundaries or differences, but rather the connection and fusion of the two genres.
There are certainly differences in form, production process, and shooting environment. However, the awe-inspiring visuals found in documentaries can appear in feature films, and the clever composition of feature films can appear in documentaries. What matters is not the genre distinction itself, but how one chooses to express their ideas.
Director Kim Ki-duk did not rely on complex theories but instead assembled techniques from both narrative film and documentary in his own way to create a new cinematic style. Thus, the director in ‘Arirang’ uses both documentary authenticity and narrative expression to reveal his inner self. Given this approach, it is by no means surprising that he won the Golden Lion Award.
