Abstract
Abstract: This essay analyzes the subject of rape in the films of South Korean auteur Hong Sang-soo, comparing his treatment with the history of representations of sexual assault in both the cinema of South Korea and the international art film. Of particular interest is the issue of how rape reflects and/or contradicts the gender politics of Hong’s films, especially their relationship with feminism, and how his handling of both sexual violence and sexuality as a whole has evolved over the course of his career. The essay focuses on four films, The Day a Pig Fell in the Well (1996), Virgin Stripped Bare by Her Bachelors (2000), Woman Is the Future of Man (2004), and Like You Know It All (2009), with a concluding discussion of Hong’s recent, more self-reflexive narratives.
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