Tag: Dangerous Liaisons

NAM, NAYEONG

Nayeong Nam

Born 1970

Nayeong Nam (남나영) is a South Korean film editor who began in 1997 as a negative cutter. In 2002, her first work as an editor was on Chosin Jeong’s Wet Dreams/Idiots/Mongjeonggi. Since then, Nam has worked on multiple films with leading South Korean directors and amassed sixty-six editing credits. She has edited five films for Seung-wan Ryoo (Crying Fist/Jumeogi unda; Timeless; Dachimawa Lee; The City of Violence/Jjakpae; and Arahan/Arahan jangpung daejakjeon). With the director Jee-woon Kim, Nam has edited four films (I Saw the Devil/Angmareul bwatda; The Good, the Bad, the Weird/Joeunnom nabbeunnom isanghannom; Bakugan: Battle Force; and Doomsday Book: Heaven’s Creation/Illyumyeolmangbogoseo). In her work with Hyoung-chul Kang, Nam has edited three films (Sunny/Sseoni; Tazza: The Hidden Card/Sinui son; and Scandal Makers/Gwasok seukaendeul). The Grand Bell Award is the South Korean equivalent of an Oscar. In the Best Editing category, Nam was nominated six times (for Scandal Makers, The Good, the Bad, the Weird, The City of Violence, Arahan, Dong-hyuk Hwang’s The Fortress/Namhansanseong and Byoung-gil Jung’s Confession of Murder/Naega sarinbeomida) and has won twice (for Crying Fist and Changmin Choo’s Masquerade/Gwanghae: Wangi doen namja). For her work on I Saw the Devil, she won an Asian Film Award, which is presented annually by the Hong Kong International Film Festival Society. For the Blue Dragon Award, Nam was nominated for Tazza: The Hidden Card and won for Masquerade, and at the Women in Film Korea Festival, she won for Sunny.

(N.b.: There is major inconsistency on the web about the way her name is written, as well as how film titles are Anglicized, so everything here appears as correctly Anglicized according to a Korean film scholar.)

YOYOTTE, MARIE-JOSÈPHE

Marie-Josèphe Yoyotte

1929 – 2017

Marie-Josèphe Yoyotte’s father was from Martinique, her mother was French. She was born and raised in France, and worked primarily in that country, but maintained a close relationship with her roots in Martinique.
Yoyotte was the first black woman editor in French cinema, with seventy-four editing credits, including for Francois Truffaut’s The 400 Blows, Jean Cocteau’s The Testament of Orpheus, and three Euzhan Palcy films (Sugar Cane Alley (aka Black Shack Alley), Rues Cases Nègres and Siméon.)
Yoyotte also edited four films for Jean Rouch: La pyramide humaine, Dionysos, Portrait de Raymond Depardon and Moi, un noir (co-edited by Catherine Dourgnan). More recently she edited Microcosmos and Winged Migration, for which she won César Awards. She won her third César for Police Python 357.

Note: You can read more about the seventeen women editors who collaborated with Jean Rouch here.

“All films are unique in the editing. A film is first of all a dream…The final construction happens in the editing. I’m truly touched by all the people who want to bear witness, because it’s the job of the editor to assist those who want to have their voice heard. There is no rule in editing. There is a taste for storytelling, a taste for collaboration with someone’s dreams.”
—“Décès de la Martiniquaise Marie-Josèphe Yoyotte, monteuse talentueuse de cinema” by Cécile Baquey. The entire interview (in French) can be found in the Appendix.