〈라라랜드〉의 자기반영성과 그 의미

류재형(Ryu, Jae Hyung) 동국대학교 영상미디어센터 2017 씨네포럼 Vol.0 No.27

뮤지컬 영화 〈라라랜드, La La Land〉(다미엔 셔젤, 2016)의 자기반영성(reflexivity/self-reflexivity)은 그 성격이 어떠한가? 보수적(conservative)인가 비판적(critical)인가? 혹은 모두를 가지고 있는가? 또한 자기반영성의 그러한 측면이 내포하는 사회, 문화적 의미는 무엇이고 뮤지컬 장르의 역사 속에서 〈라라랜드〉는 어떤 의미를 지니는가? 이 연구는 이러한 질문에 답하고자 하였다. 자기반영성의 정의와 의미, 보수적 자기반영성과 비판적 자기반영성, 그리고 패러디의 의미에 대해 살펴본 후 이를 토대로 〈라라랜드〉의 자기반영성이 어떠한 성격을 함유하는 지에 대해 세밀한 텍스트 분석을 실시하였다. 분석 결과, 〈라라랜드〉의 자기반영성은 보수성과 비판성 모두를 함유하고 있었다. 보수적 자기반영성은 스타의 위상 재현, 영화 촬영 장면의 노출, 향수를 유발하는 유명 극장과 명화의 인용, 고전 할리우드 영화의 내러티브 원칙 재현, 엔터테인먼트의 신화 구현, 고전 뮤지컬에 대한 패러디 등을 통해 과거와 현재의 연속성 및 할리우드의 건재를 묘사하는 장면들에서 찾아볼 수 있다. 반면 비판적 자기반영성은 엔터테인먼트의 신화로부터 이탈하는 장면, 할리우드의 제작 관행을 비판적으로 묘사하는 장면, 비평적 거리를 둔 패러디를 통해 모더니즘 미학을 노출하는 장면들에 의해 재현되었음을 확인할 수 있었다. 보수성과 비판성 중 어느 것이 더 강하게 표출되었는가를 판가름하는 것은 쉽지 않은 일일뿐더러 어느 한 성격을 이 영화에 부여하는 작업 또한 설득력을 얻기 힘들다. 그러나 이러한 분석을 통해 발견할 수 있는 한 가지 중요하면서도 분명한 것은 자기반영적 내러티브의 보수적 측면들이 결말에서의 비판적 자기반영성으로 귀결되면서 〈라라랜드〉가 고전 뮤지컬 영화의 장르 속성이라 할 수 있는 보수적 자기반영성으로부터 명시적으로 이탈하고 있다는 점이다. 이러한 측면에서 〈라라랜드〉는 전통적인 장르 속성으로부터 이탈한 영화들의 계보를 이으며 뮤지컬 장르의 점진적 진화를 표상한다 할 수 있다. 결과적으로 〈라라랜드〉는 장르의 역사와 진화라는 관점에서 진지하게 재고될 필요성이 있으며 이러한 진단과 후속 연구에 대한 제언에 적게나마 이 연구에 그 의의를 부여할 수 있을 것이다. What are the characteristics of self-reflexivity of the film musical La La Land (Damien Chazelle, 2016)? Is it conservative or critical? Or, does it have both? What are socio-cultural implications of the self-reflexive aspect and how does it make the film located in the history of film musical? This study has attempted to answer these questions. For this, this study has reviewed the literature about the definitions and meanings of self-reflexivity, conservative self-reflexivity, critical self-reflexivity, and parody. From this theoretical backgrounds, it has performed the close textual analysis of a few scenes in the film in terms of the characteristics of self-reflexivity. As a result, the self-reflexivity of La La Land contains both the conservative and critical. The conservative self-reflexivity could be found in the scene of the representation of stardom, the exposure of filmmaking spots, the display of a classical film in an old famous theater inducing nostalgia, the representation of a principle of the classical Hollywood narrative, the realization of the myth of entertainment, and the parody of classical film musicals, while the critical self-reflexivity could be identified in the scene of the stray from the myth of entertainment, the unfavorable description of Hollywood filmmaking practices such as auditions, and the exposure modernist aesthetics through parodies having a critical distance. This study cannot decide which self-reflexivity has been represented stronger in the film. However, one thing for sure and significant is that La La Land explicitly shows breakaway from the conservative self-reflexivity which can be said as the genre traits of the classical film musical. In this aspect, the film seems to continue the tradition of films straying from the traditional genre traits, to signify gradual evolution of the film musical. Consequently La La Land needs to be considered from the viewpoint of the history and evolution of a film genre. This diagnosis and suggestion of the follow-up study can be viewed as a little significance of this study.

Should Sociologists Be Reflexive? : A Reflexive Critique on Bourdieu’s Reflexive Sociology and a Suggestion of the Bridging Institutions

Byoung-Kyo Min 한국사회학회 2010 韓國社會學 Vol.44 No.6

The article explores the problem of reflexivity by critically examining Bourdieu’s reflexive sociology. The distinctiveness of his reflexive sociology lies in the relationships between reflexivity and scientificity. I am interested in how reflexive sociology makes sociology scientific and objective. First, I present the relationships among autonomy, objectivity and symbolic power by summarizing his sociology of science. Second, while presenting his reflexive sociology, I argue that it cannot contribute to sociologists’ attaining symbolic power even if it might help the sociological field to be autonomous; he dismisses the fact that autonomy and symbolic power are different matters. Third, I attempt to shift the focus from the epistemic strategy to the social one for symbolically powerful sociology. Bridging institutions have two functions: making sociology authoritative by showing the problem-solving ability to the public and autonomous by screening external interventions.

영화미디어의 주체효과와 자기반영성

이주봉(Lee, Ju Bong) 청운대학교 방송예술연구소 2014 미디어와 공연예술연구 Vol.9 No.1

본고는 영화미디어가 내러티브 미디어로서 자리매김하면서 배경으로 사라져간 영화미디어의 자기반영성과 성찰성 문제를 독일 표현주의 영화를 예시로 살펴보고 있다. 내러티브 미디어로서 영화는 영화가 기술적 미디어로서 초기에 지녔던 자기반영적 특징보다는 현실재현과 관객동일시를 통한 주체효과에 집중하면서 성찰성과는 거리를 둔다. 하지만 표현주의 영화는 소재로 다루는 인간의 내면적인 모습이나 몽환적이며 환상적인 세계, 그리고 독특한 형식스타일로 인하여 영화미디어의 반환영주의적인 면모와 자기반영적 성찰성을 제기하기도 한다. 예를 들어서 대표적인 표현주의 영화로 꼽히는 <칼리가리 박사의 밀실>(1919)과 <노스페라투>(1922)는 관객동일시와 주체효과를 만들어내며 내러티브 영화의 전형적인 면모를 보여주지만, 동시에 이 두 표현주의 영화는 주체와 타자, 그리고 분열된 주체라는 담론을 전면으로 부각시키는 도플갱어 모티브를 다루면서 자기반영성과 성찰성을 보여준다. 도플갱어 모티브는 프로이트가 설명했듯이 자신의 것으로 친숙하지만 억압되고 소외되어 타자화된 스스로의 모습과 관계하는, 그렇기에 자기성찰과 관계하는 ‘두려운 낯설음’이라는 감정과 연결된다. <칼리가리 박사의 밀실>에서는 형식스타일과 플롯을 통해서 생겨나는 주체효과와 주체의 재구성 문제를 살펴볼 수 있다. 또, <노스페라투>의 경우에서는 노스페라투와 엘렌의 시선체계의 이중적 면모, 즉 엘렌의 응시를 통해서 영화미디어의 자기반영적 성찰성을 만들어내고 있음을 확인할 수 있다. 본고는 표현주의 영화가 내러티브 미디어로서 환영주의적 투명성을 관철한 시기의 주류 영화임에도 불구하고, 관객동일시라는 주체효과의 이면에서 자기반영적이고 성찰적인 미디어성을 보여주면서, 영화미디어의 새로운 가능성을 모색한 영화들이었음을 확인하고 있다. In this paper, I will explore the filmic reflexivity and reflection in german expressionist film. Film in the narrative system has been known as a medium for audience’s imaginative empathy and representation of reality. In addition, the trend to narrative film in film history has excluded the filmic reflexivity and reflection as filmic character. Even though classical film looked at film focusing on the transparency of the filmic medium, filmic reflexivity could be found in early cinema, for example german expressionist film in the 1920s. Expressionist films are renowned for the ‘caligari style’, which was highly symbolic and stylized. Even if the german expressionism narrates a interesting story with audience’s imaginative empathy, the transparency of the filmic medium is broken by mise-en-scene and doppelganger motiv, which related to uncanny. The uncanny is a Freudian concept, that is the instance when “something can be both familiar yet alien at the same time, resulting in a feeling of it being uncomfortably strange.”(S. Freund) This uncomfortably strange makes a subject be reconstructed. Not only stylized Mise-en-scene, but also doubling with doppelganger motiv and uncanny play a significant role for the filmic reflexivity. Both breaks the transparency of the filmic medium and destructs illusionism of the film. These filmic images often break in the narrative flow. Therefore, doubling ultimately is connected to the theme of the split personality, the exchanged identity and the spectator’s own uncomfortable recognition. This paper focus on analyzing The Cabinet of Dr. Caligari (Robert Wiene, 1919) and Nosferatu (Friedlich Wilhelm Murnau, 1922), that ranged over doubling and uncanny. These german expressionist films are known as a medium demonstrating the process of self-reflection and reflexivity. With regard to this reflective character of film in german expressionist films, these films enable film to rediscovery and to realize its potential, which has been forgotten, namely self-reflection and reflexivity of film as a medium

Epistemic Reflexivity and its Applications to Southeast Asian Studies

( Yekyoum Kim ) 부산외국어대학교 아세안연구원(구 부산외국어대학교 동남아지역원) 2021 Suvannabhumi Vol.13 No.1

With a view to contributing to the epistemological and methodological debates in Southeast Asian Studies, the aim of this paper is to examine critically the epistemic concepts and approaches in the social sciences and then to seek an epistemic reflexivity and its potential methodological applications to Southeast Asian Studies. Although the field of social sciences has attempted to search for a means of tackling the ontological and epistemological dilemmas in its major paradigms, Southeast Asian Studies still demands a more ‘actor-centered’ epistemic account of reflexive interaction between actors and social structures. Bearing in mind the need for a more ‘actor-centered’ epistemic approach, this paper continues to discuss the ‘epistemic reflexivity’ in the social sciences and its potential applications to Southeast Asian Studies. In this paper, I will consider ‘epistemic reflexivity’ as an alternative methodological orientation. It emerges as interlinked with the ontological standpoint of what is called ‘reflexive approaches’ and its application to the detailed ‘reflexive methodology’ which I am proposing in this paper. In doing so, this paper discusses the autobiographical experiences of the author arising from his ethnographic field research in North Sulawesi, Indonesia and their implication for a reflexive methodology in Southeast Asian Studies. In conclusion, the paper argues that we need a ‘more actor-centered’ epistemic framework to compensate for the epistemological and methodological dilemmas in the social sciences and the alternative framework will equip Southeast Asian Studies with a reflexive methodology relevant to the life-dynamics of the social world in the process of developing its inquiries, methodological technics, analysis, and validation.

Anaphoric Expressions in Telugu

Chang-Yong Sim 한국중원언어학회 2015 언어학연구 Vol.0 No.34

Telugu, a Dravidian language spoken in Southern India, has three anaphoric expressions. The main purpose of this paper explores anaphoric expressions in Telugu. Telugu employs a verbal reflexive marker, kun, to express reflexivity in addition to complex nominal reflexives such as tana-ni tanu and pronominal reflexives such as tana-n-e. The two forms of reflexives with the verbal reflexive marker must be bound by a local c-commanding antecedent. These constructions show that the syntactic conditions licensing reflexives preempt the verbal reflexive system licensing reflexives. Pronominal reflexives such as tana-n-e are unspecified or indeterminate with respect to the syntactic features such as [α pronominal]/[β anaphor]. When a verbal reflexive marker, kun, is not on verbs, tana-n-e cannot take a local c-commanding antecedent. The syntactic behavior of both nominal and verbal reflexives indicates that the presence of the verbal reflexive marker is not a sufficient and necessary condition for the reflexive interpretation. Thus, anaphoric expressions in Telugu requires principles of both syntactic conditions licensing anaphora as well as verbal reflexive system licensing reflexive predicates.

재귀사역문에 관한 고찰

공미희,손동주 동북아시아문화학회 2012 동북아 문화연구 Vol.1 No.32

This paper shows the syntactic and semantic characteristics of in “causative sentence of reflexivity” by verb of “(sa) seru” type. The characteristics were investigated by examples of reflexive verbs and reflexive use, range of certification for causative verb. The syntactic sentences which types of 「V1 sasetamama」, 「V1 sasete」, 「V1 sasenagara」 and 「V1sase」 are represented reflexive expression in subordinate phrase indicate state of principal clause or dependent activity by using 「Adverb State」 of verb, or successive or paratactical activity of the clause and state. The semantic characteristics can be classified into four types by the presence of intention and activity of “Ga” case. When the causative sentence of reflexivity represents causative meaning, the “Ga” case has intention but does not activity. On the other hand, when the causative sentence of reflexivity represents transitive meaning, “Ga” case has intention and activity in s sentence, and only activity without intention. In case of the causative sentence of reflexivity representing intransitive meaning by having state of the “Ga” case, the sentence do not have intention and activity. In addition, the semantic characteristics show that “O” case represent the properties of body parts, possessions, mental·Property, the results of the inner workings and the result of the act for the “Ga” case. Therefore, the results of the researches show that the causative sentence of reflexivity representing causative, transitive and intransitive meaning get a continuity of semantic characteristics for verb.

Anaphoric Expressions in Telugu

심창용 한국중원언어학회 2015 언어학연구 Vol.0 No.34

Telugu, a Dravidian language spoken in Southern India, has three anaphoric expressions. The main purpose of this paper explores anaphoric expressions in Telugu. Telugu employs a verbal reflexive marker, kun, to express reflexivity in addition to complex nominal reflexives such as tana-ni tanu and pronominal reflexives such as tana-n-e. The two forms of reflexives with the verbal reflexive marker must be bound by a local c-commanding antecedent. These constructions show that the syntactic conditions licensing reflexives preempt the verbal reflexive system licensing reflexives. Pronominal reflexives such as tana-n-e are unspecified or indeterminate with respect to the syntactic features such as [α pronominal]/[β anaphor]. When a verbal reflexive marker, kun, is not on verbs, tana-n-e cannot take a local c-commanding antecedent. The syntactic behavior of both nominal and verbal reflexives indicates that the presence of the verbal reflexive marker is not a sufficient and necessary condition for the reflexive interpretation. Thus, anaphoric expressions in Telugu requires principles of both syntactic conditions licensing anaphora as well as verbal reflexive system licensing reflexive predicates.

Should Sociologists Be Reflexive?: A Reflexive Critique on Bourdieu's Reflexive Sociology and a Suggestion of the Bridging Institutions

민병교 한국사회학회 2010 韓國社會學 Vol.44 No.6

The article explores the problem of reflexivity by critically examining Bourdieu’s reflexive sociology. The distinctiveness of his reflexive sociology lies in the relationships between reflexivity and scientificity. I am interested in how reflexive sociology makes sociology scientific and objective. First, I present the relationships among autonomy, objectivity and symbolic power by summarizing his sociology of science. Second, while presenting his reflexive sociology, I argue that it cannot contribute to sociologists’ attaining symbolic power even if it might help the sociological field to be autonomous; he dismisses the fact that autonomy and symbolic power are different matters. Third, I attempt to shift the focus from the epistemic strategy to the social one for symbolically powerful sociology. Bridging institutions have two functions: making sociology authoritative by showing the problem-solving ability to the public and autonomous by screening external interventions

Competence Trust, Reflexivity and Risk Management in Hong Kong

Raymond K. H. Chan 서울대학교행정대학원 2013 Asian Journal of Political Science Vol.20 No.3

Trust is an essential element of governance. Lack of trust in government engenders doubtsregarding its competence, weakens its legitimacy, and creates difficulties in the process ofgoverning. As suggested, declining trust was related to reflexivity. This article, based on aHong Kong study, confirms that a lack of competence trust in the government’s ability tomanage work-related risks correlated with reflexivity. Self-identified social status alsoinfluences the degree of reflexivity and competence trust. The conventional approach tocultivating trust through managed social participation has been widely practiced, but theresults have not led to an increase in competence trust in Hong Kong, even when thepolicy outcomes are positive. While recognizing that reflexivity and its impacts on trustare inevitable, this article argues that efforts should be made to develop critical trustthrough meaningful participation in the deliberative process.

Epistemic Reflexivity and its Applications to Southeast Asian Studies

KIM, Yekyoum Korea Institute for ASEAN Studies 2021 Suvannabhumi Vol.13 No.1

With a view to contributing to the epistemological and methodological debates in Southeast Asian Studies, the aim of this paper is to examine critically the epistemic concepts and approaches in the social sciences and then to seek an epistemic reflexivity and its potential methodological applications to Southeast Asian Studies. Although the field of social sciences has attempted to search for a means of tackling the ontological and epistemological dilemmas in its major paradigms, Southeast Asian Studies still demands a more 'actor-centered' epistemic account of reflexive interaction between actors and social structures. Bearing in mind the need for a more 'actor-centered' epistemic approach, this paper continues to discuss the 'epistemic reflexivity' in the social sciences and its potential applications to Southeast Asian Studies. In this paper, I will consider 'epistemic reflexivity' as an alternative methodological orientation. It emerges as interlinked with the ontological standpoint of what is called 'reflexive approaches' and its application to the detailed 'reflexive methodology' which I am proposing in this paper. In doing so, this paper discusses the autobiographical experiences of the author arising from his ethnographic field research in North Sulawesi, Indonesia and their implication for a reflexive methodology in Southeast Asian Studies. In conclusion, the paper argues that we need a 'more actor-centered' epistemic framework to compensate for the epistemological and methodological dilemmas in the social sciences and the alternative framework will equip Southeast Asian Studies with a reflexive methodology relevant to the life-dynamics of the social world in the process of developing its inquiries, methodological technics, analysis, and validation.