22권 1호
초록
Abstract
This article attempted to reconstitute the events around Josef von Sternberg’s visit in Seoul(1936) and analysis the way how Korean film-makers’ hospitality to him had the complex meaning in the context of colonial Korean cinema. It was the members of the organizing office of Chosun Film Corporation that acted as the host to Sternberg’s visit in Seoul. They had aspirations to have reasonable production system supported by financial strength and leaded the discourse on the rationalization of film industry, criticizing the establishing film industry. They appropriated their extraordinary encounter with a world-famous film director Sternberg to build themselves as the subject leading the new step of Korean cinema since the talkie. The event of Sternberg’s visit could expose the feud and conflicts within the colonial Korean cinema. Sternberg’s visit might be a good chance that the colonial Korean cinema imagined the relation to the world beyond empire Japan. His visit was on the turning position from the Chosun cinema that the colonial Korean people watched to the Chosun Cinema that represented the Koreanness. Through this special visiter Sternberg from Hollywood, colonial Korean cinema faced the Others’ eyes to recognize the local color as the Koreanness and expressed their desire to make a leap forward to the new step of Korean cinema. However, the imbalance of their encounter also confirmed the limits of colonial cinema.
초록
본 논문은 1960년대 중반 한국의 주류 장르로 부상한 스릴러를 특정 시기에 유행했던 안정된 하나의 장르로 접근하기보다 할리우드와 프랑스 등의 영향을 받아 중층적으로 구성된 초국적 양식이었음을 주장한다. 이러한 영향들은 2차 대전 후 필름 느와르 영화들과 이에 대한 비평들이 글로벌하게 순환한 방식과도 연결된다. 즉 필름 느와르는 프랑스에서 미국 전후 스릴러 영화들에 나타난 속도감과 어두운 시각적 분위기라는 두 가지 특징들을 식별하면서 비평적으로 정립된 용어로, 이 두 특징들은 60년대 한국 범죄 스릴러에도 ‘템포’와 ‘무드’라는 두 가지 국면들로 반영되었다. 템포와 무드는 할리우드 영화의 시스템과 테크놀로지에 대한 욕망, 그리고 프랑스 영화에 대한 비평가들의 예술영화적 욕망을 응축했다는 점에서 초국적이다. 그리고 이러한 초국성은 1960년대 근대화된 도시의 일상적 경험에 따른 속도와 감각성에의 매혹과 연결되었다는 점에서 지역적인 것과 협상했다. 본 논문에서는 스릴러/느와르의 이러한 혼종적 특징들에 착안하여 이 영화들을 대중영화적 새로움과 영화언어의 새로움, 이국적 감수성과 지역적인 맥락들이 교섭하고 경합하는 역동적인 실천의 양식들로 간주하면서 이러한 특성들을 잘 드러내는 작품들로서 이만희의 <검은 머리>(1964), 조해원의 <불나비>(1965), 이강원의 <도망자>(1965)를 분석한다.
Abstract
This paper argues that the thriller which emerged as a mainstream genre in the Korean cinema of the 1960s should be seen as a transnational mode of film production rather than as a stable genre that had its popularity during a specific period, one that was overdetermined by the influences of Hollywood and French cinema. These influences are linked to the ways in which both the post-war film noir movies and the criticisms on them were globally circulated. The French critics in the late 1940s and 50s identified as the two key characteristics of the post-war US crime thrillers the sense of speed and the dark visual atmosphere, both of which enabled the critics to name the films as ‘film noir.’ These two characteristics were also reflected in the Korean crime thriller films in the forms of ‘tempo’ and ‘mood.’ These two aspects are transnational in the sense that they consolidated a desire of the 1960s’ Korean cinema for the system and technology of Hollywood on the one hand, and another desire of the local critics for the French cinema that they considered as the culmination of art cinema, on the other. These twofold transnational aspects were, too, in negotiation with the local, given that they were expressive of the local audiences’ fascination with the urban speed and sensory plenitude that they experienced in their everyday life. With these hybrid aspects in mind, I define the Korean thriller/noir as a dynamic mode of film practice through which the newness of popular cinema, the newness of film language, exotic sensibility, and local contexts negotiated and competed with each other, examining Black Hair (Lee Man- hee, 1964), The Tiger Moth (Cho Hae-won, 1965), and The Fugitive (Lee Kang-won, 1965).
초록
본고는 1980년대를 전후해 할리우드 및 서구문화 수용과 매우 밀접한 연관을 맺고 있는 영화 텍스트로서 이장호의 <Y의 체험>을 재고해 보고자 한다. <Y의 체험>은 한국에서 반미주의와 민족주의가 절정에 이르렀던 1980년대에 막스 오퓔스의 1940년대 할리우드 멜로드라마 <미지의 여인에게서 온 편지>를 리메이크한 작품이기 때문이다. 이장호는 80년대에 반미주의적이고 민족주의적인 영화를 여러 차례 만든 이력이 있는데, 그런 그가 할리우드 직배가 결정되어 영화인들의 반미주의가 정점으로 치닫기 시작할 즈음에 할리우드 영화를 리메이크한 것은 모순적이다. 이장호의 이러한 모순적 태도는 한국 사회의 서구 및 할리우드에 대한 1980년대적 동경과 경멸의 양가적 감정을 반영하는데, 본고는 이를 분열적 스타일이라 부를 것이다. 이장호가 이러한 분열적 오마주로서 오퓔스의 영화를 리메이크한 것은 오퓔스의 초국가성와 함께 <미지의 여인에게서 온 편지>가 오스트리아 작가 스테판 츠바이크의 소설을 원작으로 삼고 있는 만큼 미국적이라기보다는 유럽적이고 따라서 안전할 것이라는 인식을 기저에 두고 있는 것으로 보인다. 따라서 본고는 <Y의 체험>을 츠바이크의 원작소설 및 오퓔스의 영화와 비교·분석하면서, 1980년대 한국에서의 미국과 할리우드의 의미에 대해 고찰할 것이다.
Abstract
This paper attempts to reconsider Lee Jang-ho's Y's Experience as a film text that is tightly related with the South Korean reception of Hollywood and Western culture before and after the 1980s. For Y's Experience is a 1987 South Korean remake of a 1948 Hollywood melodrama film, Letter from an Unknown Woman directed by Max Ophüls. Given that Lee made the films imbued with the anti-Americanism and nationalism that peaked in South Korea in the eighties, it is ironic that Lee remade the Hollywood film by the time South Korean filmmakers also started to vehemently rise against the state approval of direct distributions of Hollywood films in South Korea in the late eighties. I would call this ironic attitude of Lee's "schizophrenic" inasmuch as it reflects the South Korean ambivalence, namely admiration and contempt or love and hate towards the West and Hollywood in the eighties. As a schizophrenic homage to the Ophüls film, Lee's remake seems to be based in his perception that Letter from an Unknown Woman is a safe text that is rather European than American as a film adaptation of Austrian writer, Stefan Zweig's eponymous novella. This paper thus inquires into the meaning of the United States and Hollywood in South Korea of the 1980s by analyzing Y's Experience in comparison with the source novella of Zeweig's and the Hollywood film version of Ophüls's.
초록
Abstract
‘Machine Critics’ is not the only critical methods to deal with mechanical knowledge. ‘Machine Critics’ is a practical effort to understand the human life and culture associated with the machine in a comprehensive way. With the advent of instrumental humans(“Homo Faber”) and the machine is indispensable to human existence itself was a background. In the light of modern society in general knowledge that comes by the result of complex interactions of humanities revival and Industrial Revolution is a key organizing principle of human reason to understand the mechanical modernity. Moreover, when the State and the Capital secured the machine and look back on the history of representation and working actively used in modern state governance and the principles governing mechanisms, it is also the reason for the liberation of the mechanical problems that can not be postponed anymore. ‘Science and Technology’ in Korea and ‘Technology Philosophy’ is still poor, and poverty. ‘Machine Critics’ is also not yet fully caught criticism field position. ‘Machine Critics’ was the first attempt by the Lee Youngjun in the mid-2000s. The critically inherited the flow of ‘Machine Critics’ is enabled in Korea since the 1990s ‘Cultural Studies’. ‘Cultural Studies’ and ‘Machine Critics’ is expected to share the practical critique modernity and social change. On the other hand, ‘Machine Critics’ is a feature that points directly targeted machine and try a comprehensive analysis of the life, culture and politics and philosophy associated with it at the same time to deal with professionally. ‘Machine Critics’ cracks in the old traditions of Korea are separated by academics field that the ‘Human Arts’ and ‘Science and Technology’. Elimination of barriers between discipline system and who will emerge as potential knowledge to pursue consilience and fusion. However, ‘Machine Critics’ performance are still sporadic and is associated with heterogeneously observed. Research papers and lectures, publications are a general aspect of its advanced process and appear in a different format and order of the existing studies are awarded to the attention of the media and academia. ‘Machine Critics’ is a claim to a bridge between the Humanities and Engineering and it is also a new challenge to overcome even the existing convergence limit.
초록
Abstract
This paper aimed to review the literary figure aspects of the poet Yun Dongju. There are two types in the novel about the poet, Yun Dongju. The one is that Yun played the main character directly in the colonial background, and the others are factions tracking the mystery of the death at this point. The first type could not be differentiated the critical biographies or previous researches. From Choe insu’s “Yun Dongju”, the first novel about Yoon Dongju, to An doseop’s “Yun Dongju, Wounded Soul”, and An Soyeong’s “The poet/Dongju”, these works reproduce the image of Yun Dongju as a national poet. The second type ask Who is Dongju to us now, rather than historical facts more free imagination. Yun Dongju is the symbol of literary truth. Since the advent of faction some authors described the real life of Dongju by using technique of mystery stories. Lee Jungmyung’s “The Investigation(Star in the breeze on)” searched the problem of boundary between facts and truths, asked who the poet, and whats the meaning of writing. Yu Gwangsu’s “Yoon Dongju Project” also transcending from past to present, between fact and fiction by the liberal imagination. Ku Hyoseo’s “Dongju” described Dongju not only a poet of ethnicity but also a poet universality. He did not limit to a national resistance, and drew as a poet of humanity in pursuit of universality. At the conclusion compare and analyse three works. The structure of the mystery is not just for interest of readers, but also the dialogue about the life and potry of Dongju, and communication with contemporary readers.
초록
Abstract
This paper examines the Socialist film movement of Korea during the colonial period, with the focus on its discursive practice between 1927 and 1935. The first socialist film discourse appeared when the Korean cinema saw its first renaissance after the big hit of Arirang(Na Un-kyu, 1926), and when a series of filmmakers and criticsorganizedanAllianceof Emerging Film Artists[Shinheungyesulgadongmaeng](1929)criticizing the unprogressive impact of Americanism on Korean popular culture. This discursive movement with its filmic productions experienced transformation in tandem with the reconstruction of KAPF in 1930 as well as with the definitive dissolution of socialist cultural movement in 1935 by the colonial government. This paper analyzes the transformation by articulating three discursive stages of socialist film movement: the inquiry into the propagandistic characteristics of film(1927-30), the debate on the ‘tendency film[Kyeonghyangyeonghwa]’ related to the concept of ‘people’ in socialist cultural movement(1930-1931), and the pursue of survival strategy in the face of global fascism and the development of talkie technology(1932-1935).
초록
Abstract
The purpose of this paper is in examining the methods and aspects of how the individual engages with the locale or locality, based on the concept of everyday sense of place. The Zhang Lu’s films <Hyazgar>, <Chong-Qing>, <I-Ri>, and <Gyeong-Ju> were used as texts to reveal how the individual is related to the locality during the process of the individual’s everyday place becoming insecure or fantastically reconstructed. Consequently, Zhang Lu hopes for the recovery of intersectionality of the severed everyday place through the image of the individual, who has regressed to the everyday place via a fantastic way, by such an individual welcoming with warm language another individual who has come to grips with his or her class identity and place. Also, his films depend not on something imprinted on the locality but the way the individual enters into a relationship with the locale. If focus is put on how the locale is a fluid concept which changes sizes by hierarchy, each individual produces his or her own locale in accordance with the various definitions and regulations including space made into place, space planned as administrative district, and space as a national enterprise. This study can be said to be about seeking to summon the individual who has been ousted from the place of the main agent, especially the marginal person as the main agents who produce and identify the locality.
초록
영화교육에서 영화 속 정치요소는 주요 연구과제다. 유로파 3부작, 안티 아메리카 3부작 등 덴마크가 낳은 세계적 감독 라스 폰 트리에는 2011년 깐느 시상식에서 경솔하게 발언한 ‘나치 옹호’, ‘반유태인‘의 발언으로 인해 그간 보여준 영화적 업적, 특히 정치 비판 텍스트의 새로운 서사 장치를 창조했다는 극찬에도 불구, 세계적 지탄을 받게 되는 계기가 되었다. 그럼에도 폰 트리에가 그간 보여준 독특한 작가적 가치는 탐미주의적 예술 영화의 텍스트, 혹은 동시대 정치 트렌드를 단순히 풍자하는 정치영화와 다른 차별성 보여줬다고 생각한다. 특히 폰 트리에 스스로 인정했지만 정치 서사극의 창시자로 유명한 독일의 극작가 베르톨트 브레히트가 주창한 ‘생소화 효과’, 즉 관객의 감정적 몰입을 방지하고 눈앞에 펼쳐지는 사회정치적 상황을 냉정하게 분석하고 스스로 변혁을 유도하게 만드는 정치 영화의 탄생을 꿈꾼다. 이러한 현대 정치 영화의 대안으로 ‘안티 아메리카 연작’이라 불리는 <도그빌>, <만달레이> 시리즈에서 감독 폰 트리에는 미국 사회의 어두운 측면, 즉 민주주의와 다수결 원칙의 부작용, 노예제도의 불합리함, 보편적 측면에서 다수결의 횡포와 계급 간 투쟁에 대해 보다 직설적으로 그려내는 영화 서사장치를 창조하는데 성공했다. 본 논문의 주된 목적은 ‘안티 아메리카’, ‘신랄한 정치 풍자의 영화’로 유명한 라스 폰 트리에의 정치영화 연작 <도그빌>과 <만달레이>가 보수적 풍자극을 넘어서서 브레히트가 한때 추구했던 ‘정치 서사극’. 즉 수동적 관객의 시각을 넘어 생소화 효과를 주는 차세대 정치 영화로써의 가능성이 있는지 살펴보고 브레히트가 추구한 정치 영화의 가능성이 현대 영화 서사에선 어떠한 형태로 계승될 수 있는지 2편의 정치비판 서사 장치들의 구체적 분석을 통해 그 가능성을 살펴보고자 한다.
Abstract
This paper is This study will investigate into the main principles and core strategy about making truthful ‘political’ films in terms of ‘Post-Brechtian’ cinemas. As Bertolt Brecht once asserted, real political films or cinemas should not only deliver their own political messages but also make audience to determine their own opinions about ongoing nowadays political situations nearby so that they could change and improve their own political situation and society. Lars Von Trier, whom we could regard as true disciple of Bertolt Brecht, have tried so many truthful and sincere ‘post-Brechtian’ political films and among them two films are most influential political cinemas about ‘Anti-American’ political films about criticizing America’s ongoing political situations nowadays. In those films Lars Von Trier did his best to depict America’s society and political community truthfully but also criticize its own system, ‘democracy’ itself so that audience could forget about their natural emotions but determine and judge nowadays ongoing political situation about America. So in conclusion Lars Von Trier’s two films, will cleary show how truthful ‘Post-Brechtian Political cinemas’ should created for nowadays political problems. Therefore this study will mainly focus on investigating into the principles of ‘Lars Von Trier’s ‘Politic films’ and definitely will compare and focus on analyzing two main post political films, <Dogville> and <Mandalay>.
초록
Abstract
This study aims to criticize on conceptual ambiguity and arbitrariness of Lee O-Young’s Digilog. The word has disparate origins, digital and analog. Generally these words were considered as contradict concepts. But their historical, etymological relation had been rather continuous and extensive each other. The term ‘Digilog’ is an empty signifier about Korean self-representation. Lee O-Young did not talk about digital, analog and digilog in this book. His argument moves liberal possibilities in digital technological advances to national oppression based on the discourse of Korean’s Cultural Meme. Like the analysis on movies ‘Wild wild west’ and ‘Avengers 2’, the question is that technology is an essential element to form humanity in present. Those images of machine-human interaction or cyborg make be implosive common ideas on the relation of analog and digital.
초록
Abstract
The novel Toji(land) is a long saga. The period ranging over TV drama broadcasting and the author's writing amounts to more than 25years. It is one of the popular novel in contemporary Korean cultural history that has been undergone transformations in its forms such as TV dramas, radio drama, movie, cartoon, musical drama and narrative works. This paper aims to analyze the rhythms of events that were represented in the TV drama on SBS channel in 2004, and its effects on every aspect of Korean society including literature, comparing it with its original novel. Henri Meschonnic argues that translation should be done corresponding to rhythms in works, not just flowing word to word correspondence. It is argued in this paper that transformation is also a kind of translation. This paper attempts to read rhythms of the narrative in the media transformation comparing to the original novel. The rhythms of the narrative in the SBS drama identify two ideologies: first, male-oriented historical ideology and second, family-ideology focusing on the recovery of patriarchy. This paper claims that the SBS drama has been digressing from the intention of the director and flows of the 21st century in Korea. This paper maintains that digression results from adopting the storyline in a simple way, excluding the narrative-rhythm. The analysis of the SBS drama in the narrative-rhythm can see that there is a strong family history of ideological reinforcement intended to strengthen the ideology of patriarchy that is male oriented. These two ideologies and ways to maximize the use of the knowledge of good and evil conflict enacted to strengthen battle. In addition, examples of the strengthening of the ideological focus of the family and the history of drama in the closing figures are confirmed. The television media is the public media. So it is no surprise that form the narrative in ways familiar to the public. However, Strengthening and weakening of the Patriarchate femininity analysis seems to confirm the SBS drama because the story came to get the settings or simply figures without analysis of the narrative-rhythm and characteristics of the event. Therefore, this transformation should be considered taking into account the rhythm of the narrative and the characteristics of the event in the transformation of Toji(Land). The transformation, focusing narrative-rhythm of the events and characters of the original can be proposed by one of the methods of literary works dramatization.
초록
Abstract
Nayoung Aimee Kwon's Intimate Empire: Collaboration and Colonial Modernity in Korea and Japan analyzes postcolonial encounter between Korea and Japan with the perspective of "intimacy." This essay will suggest the implication and limitation of Kwon's approach by reviewing her work in the context of the studies of Korean literature in the late Japanese empire period. Kwon's study is distinguished from the previous studies, which deny "intimately shared" history between Japan and Korea by underlying only the repressive reality of the Japanese Empire, or which place the repressive reality and the intimate relationship in parallel. By analyzing the intimacy between Korea(n) and Japan(ese), Kwon successfully explores complex, ambivalent, and contradictory relationship between them, and sheds anew light on the historical aspects. The book demonstrates well that the "intimacy" in the context of "trans-colonial" encounter between Japan(ese) and Korea(n) has the complexity of conflicts and confusion under the multi-layered repression and appeasement. By tracing "affect" in various examples, including young Korean students' affection towards Japanese and their despair (chapter 1), Japanese critics' ambivalent attitude towards Kim Sa-ryang, Akutakawa Prize’s nominee, and Kim Sa-ryang’s reaction to the Japanese critics (chapter 3), the complicated characters in Kim Sa-ryang's novel (chapter 4), the ambivalent meaning of colonial Koreans' writing in Japanese (chapter 5), the repression inherent in the format of round table discussion and the enforced laughs of colonial Koreans, which were used ultimately to promote propagate the idea of 內鮮一體 (Japan-Korea as one) (chapter 7), the study illustrates well how the ‘intimacy’ on the surface is complicatedly related to underlying repression of the empire. However, the analysis has its limits in that all the explanations are reduced to the linear relationship between colonial Korea and the empire. Given that the research was conducted in the ‘intimate empire,’ the United States, this study allows us to view the postcolonial encounter between Korea and Japan, from the perspective, which is free from the national boundaries; but, on the other hand, the study includes the excess of theories, and uses the studies of Korean literature and texts of the colonial Korea only for the purpose of disputing the concept of "western universality." This, in a sense, seems to repeat the unequal power relation between colonial Korea and Japan, which the author tried to criticize, in the context of the unequal power relation between the Korean academia and the US academia. Admittedly, the relation between Korea's Korean literature studies and studies in the frame of Korean studies in the United States is more complex, and cannot be reduced to the relation between colonies and empires. Sometimes even the Korea's Korean literature claim its position as the 'center' or the 'empire.' In order to ‘collaborate’ between Korean studies in Korea and the U.S. ‘we’ have to welcome others with hospitality and try to self-reflect ourselves by the otherness.