Abstract

This paper is to commemorate the 30th anniversary of Ha Kil-Jong's death. Much attention is paid to the correlation between the literature and movie looking through the poems, essays, critics and movies of his legacies. And it is to bring forward the critical mind that could set forth the new perspectives on artistic and popular values as well when it comes to the discussion of 4·19 generation's historic(al) experiences and surrealism. 4·19 revolution in 1960s and 5·16 military coup in 1961 were the events that configured the political subconsciousness. Ha Gil-Jong sought to get over the disillusionment by means of surrealism. Therefore the self-destructive images and the persona(alter-ego) imaginations are contemplated herein in order to read the definite surrealistic aspects of which Ha Gil-Jong cleaved to. It is also indicated that his film critics written in 1970s were chiefly engaged in the discussions on the revolutionary changes of visual media and Rimbaud's 'le voyant' poetics as well. And it is another revealed issue that the surrealism was chosen to take the function as a symbol of the revolutionary desire besides. In this paper, much is appealed on the meaning of the symbols of surrealism to Ha Gil-Jong who underwent 4·19 revolution. The political failure of which comprised the revolution of the repressed unconsciousness. And as for him, the symbol itself became a surrealism marking the spot where the revolution had slipped into the unconscious desire. This being so, the symbol having made him desire the desire for the revolution was to be a surrealism. As surrealism was the intermediary linking literatures with films and so the artistry equivalent of the political revolution.