ACC Cinematheque Special Exhibition “To REWIND is Divine!” features video home system (VHS) tapes that have disappeared during the transition from analog to digital world.

The heritage of videotapes cannot be overemphasized when it comes to Korean movies, especially in this time when K-culture is receiving earnest attention around the globe. The golden days of the video industry goes in line with the appearance of film magazines, cinephiles, production of blockbuster films with the capital of giant businesses, and inclusion of cinematography in the academic system. Producers and consumers of this industry are so-called “video kids,” who watched and understood films through VHS tapes and even collected them

Videotapes were distributed to the public with the production of VHS by JVC, a Japanese electronic company. The practicality of VHS tapes accelerated the film market boom. They permeated into not only film producers and distributors, but also households, playing a significant role in shifting cultural activities.

The artistic world experimented video media with Sony’s Portapaks that were produced from the 1950s, before the production of VHS tapes. The recursive and tactile features of videotapes—Play (▶), Pause (II), Stop (■), and Rewind (◀◀)—have made video be used as psychological channels, not formal tools. “Self-reflection” that was seen as “beauty of narcissism” in video art reminds of “selfies” and “YouTubers” of today, which are taking images of oneself. Such participatory and communicative videos made changes and development in the overall cultural arts of the century, kept in individuals and public history.

“To REWIND is Divine!” intends to focus on VHS tapes that is no longer available in video history, particularly those of films that received public attention. Film videos were practical and active for producers and consumers, as well as the formal sector and non-formal sector. This exhibition was designed to feature the culture of consumers, not focused on video producers (including artists). VHS tapes are exhibited as is, directly displaying the “property of material” that is hard to see in modern society.

Most of the VHS tapes displayed are owned by Gwangju cinephile Mr. Jo Dae-yeong. Destroyed and contaminated videotapes, as well as duplications have been removed from the 50,000 copies, leaving 25,000 for exhibition. Number of VHS tapes categorized by genre and region, VHS cover tag lines and age restriction, and rental fee and period marked by video rental shops are pieces of culture of the time.

Recently, the term “convergence” is often used in different areas of culture. This fancy word that sounds futuristic and democratic became vague after it has been exclusively associated with the digital technology culture. “Convergence” starts from all generations overcoming and expanding periodic and technological ideologies with the union of high-tech and low-tech. Although videos have become less familiar and unnecessary products for younger generations, we hope this exhibition gives direct and indirect experience to accept the culture as the origin of over-the-top media services, such as Netflix and YouTube. For those who lived in the time of videotapes, we hope to provide you the opportunity to bring back memories and reestablish them.