Backward Formatting: Resurrecting Memory Through Dead Media in The Call (2020)
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Lee Chung Hyun’s The Call (2020) is a film that returns to 1999 through the lens of cultural nostalgia. Recalling and resituating its viewers between two competing timelines, 1999 and 2019, the film presents a contemporary Gothic narrative through its contemporaneous interaction with 1999 as a secondary pre-digital space and period of profound cultural importance. Examining the 1999 as a nexus point for socio-political anxieties and nostalgic recall, which has dominated the economic landscape and many Hallyu films and television series of the past decade, this article argues that The Call situates its characters at either side of the analog and digital divide. The Call, alongside other horrific retro-technology centered films, articulate the Gothic terrors of the contemporary moment; primarily the transformation of media formats from physical analog media to incorporeal digital format. This article argues that the nostalgic longing for physical media in The Call, as tied to memory, reflects a larger cultural anxiety regarding the eventual disappearance of digital Korean culture.
Abstract
Lee Chung Hyun’s The Call (2020) is a film that returns to 1999 through the lens of cultural nostalgia. Recalling and resituating its viewers between two competing timelines, 1999 and 2019, the film presents a contemporary Gothic narrative through its contemporaneous interaction with 1999 as a secondary pre-digital space and period of profound cultural importance. Examining the 1999 as a nexus point for socio-political anxieties and nostalgic recall, which has dominated the economic landscape and many Hallyu films and television series of the past decade, this article argues that The Call situates its characters at either side of the analog and digital divide. The Call, alongside other horrific retro-technology centered films, articulate the Gothic terrors of the contemporary moment; primarily the transformation of media formats from physical analog media to incorporeal digital format. This article argues that the nostalgic longing for physical media in The Call, as tied to memory, reflects a larger cultural anxiety regarding the eventual disappearance of digital Korean culture.
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