Abstract
This article delves into the exploration of two recent South Korean independent documentary films focused on historical trauma and their aesthetics, raising important questions about the cultural logic of memory-making in the digital era. Documentaries, as truth-claims, play a significant role in shaping postmemory for both current and future generations. Furthermore, it is crucial to understand memory-making in the age of algorithms that promote the production of post-truth, which, although not a new phenomenon, has been intensified by the prevalence of digital technologies. Contemporary post-truth seeks objectivity through data science while leveraging negative emotions such as anger and hatred. Through an analysis of the South Korean documentaries, Two Doors and Kim-Gun, this article argues that documentary, as a form of postmemory, disrupt post-truths about historical narratives in a digital society, extending beyond merely working through trauma. By expressing their digital mediation, these films also expose how documentaries create a space for critically examining prevailing post-truths within digital culture. Post-memory-making does not promise an absolute truth. Instead, it highlights the interplay between digital technologies and memory, encouraging us to question competing narratives and engage in memory activism. Thus, this case study underscores the role of documentary filmmaking as a form of post-memory-making, addressing the complexities of truth and the data-driven culture of memory in today’s digital landscape.
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