김기덕 영화에서 “동일시”의 윤리적 성격에 관한 고찰 -<파란 대문>의 분석을 중심으로-

김소연 ( Soh Youn Kim ) 한양대학교 현대영화연구소 2010 현대영화연구 Vol.6 No.2

Kim, Ki-duk, who is a renowned filmmaker in the global art film market, has made 15 films since 1996. His corpus has been said that it can be divided into two groups on the basis of the ways he treats the violence and sensational subject-matters,which used to be a trademark of his films until Spring, Summer, Fall, Winter … And Spring. I especially focused on the fact that his films, nonetheless, have dealt with love stories and showed the astounding identification dialectic, eventually made by the desired one after having gone through some hardships given by the desiring one. Birdcage Inn is an early exemplary film in terms of this implausible psychoanalytical turn in the identification procedures. In order to analyze the film, I looked into the Lacanian terms of the imaginary identification with the mirror image and mother, that is the imaginary ego, the symbolic identification with father, that is the ego-ideal, and the identification with the symptom (sinthome) itself. In addition, I examined that the neighbor in the Freudian sense is “those faceless monsters” with the impossible inter-subjectivity. According to the above theory, I analyzed the identification procedures in Birdcage Inn. To make a long story short, I could conclude that Hemi, the college student`s identification with Jina, the prostitute in that inn, followed the identification trajectory of Oedipus complex and ends up inthe identification with Jina as the Real or the extimate sinthome of hers. Nevertheless, it can be said that this film still did not make sure the fourth knot in Borromean knots and thus was about to fall into a cul-de-sac of perversion. Perhaps, the seemingly soft feeling of the late works might be considered as Kim`s attempt to get closer to `the symbolic nomination` after having through the harsh criticisms on his perversive attitude.

김기덕 영화에서의 도착(倒錯)적 주체성의 문제 : <사마리아>를 중심으로

김소연(Soh-Youn Kim) 한국라깡과현대정신분석학회 2011 현대정신분석 Vol.13 No.2

김기덕 영화들은 그 폭력적 서사로 인해 대개 '도착(倒錯)'적이라는 평을 듣곤 했다. 하지만 도착증이 후기 근대를 특징짓는 주체성의 형식이라는 주장과 관련하여, 김기덕 영화의 도착적 양상은 인상비평을 넘어 정신분석학적으로 좀더 면밀하게 재독해될 필요가 있다. 특히 <사마리아>는 김기덕의 전작이 보여준 서사의 진화 속에서 중요한 결절점으로 기능하는 영화이자, 주체가 도착적 증상들에 대응하는 다양한 방식들을 보여주는 영화라는 점에서 주목할 가치가 있다. 이 논문은 <사마리아>의 세 단락과 세 인물이 도착증적 주체성의 특징(재영), 도착적 사태에 대한 신경증자의 두 가지 반응, 즉 유사-도착증적(마조히즘적) 전략을 통한 사랑의 주체로의 성장(여진) 및 법에 대한 투항(영기)을 보여준다고 분석했다. 라캉은 사드와 칸트 너머, 즉 욕망과 법의 변증법 너머로 나아갈 가능성을 제시한 바 있다. <사마리아>는 여진이라는 인물을 통해 어떻게 후기 근대적 주체성의 도착적인 심적 구조가 사드적 덫을 뚫고 '윤리'를 실현할 수 있는가를 잘 보여준 영화다. Kim, Ki Duk's films used to be criticized as being perverse due to its violent narrative. However, the perverse aspect of his films needs to be reread closely from the psychoanalytical perspective beyond the impression criticism insofar as the perversion is claimed to be a form of subjectivity in the postmodern era. Particularly, Samaria is well worth considering not only because it becomes a nodal point in the evolvement of Kim's narratives in terms of the subjectivization, but also because it shows the subjects' different reactions to the perverse symptoms. I analyzed that the three parts of the film as well as the three characters display the characteristics of the perverse subjectivity (Jaeyoung), two neurotics' reactions to the perverse situation, that is, the growth as the subject of love via pseudo-perverse(masochist) strategies (Yeojin) and the surrender to the law (Youngki). Lacan already indicated the possibility of going beyond Sade and Kant, that is to say, the dialectics of desire and law. Samaria is a successful film narraivizing how the postmodern subjectivity with perverse psychic structure can reach the ethical subjectivity breaking through the Sadean trap.

라캉의 이미지론에서 지젝의 영화론으로

김소연(KIM, Soh-Youn) 한국현대정신분석학회 2013 현대정신분석 Vol.15 No.1

김기덕의 〈시간〉의 가면놀이, 혹은 (불)가능한 사랑의 은유로서의 ‘가장’

김소연(Kim, Soh-Youn) 한국현대정신분석학회 2016 현대정신분석 Vol.18 No.1

왜상, 그리고/혹은 실재의 영화적 표상

김소연(Soh-youn Kim) 한국라깡과 현대정신분석학회 2010 현대정신분석 Vol.12 No.1

영화 이미지가 실사에 기초하며 따라서 다른 어떤 이미지보다 존재론적으로 리얼하다는 통념은 디지털 시대 하이퍼리얼 개념의 등장과 함께 근원적인 위협에 직면해 있다. 그러나 라깡의 실재 개념 및 그로부터 논리적으로 파생되는 왜상 개념은 영화의 ‘리얼함’에 대한 새로운 관점을 제공한다. 요컨대 영화는 현실의 정직한 반영이라는 의미에서의 리얼함이 아니라 왜상으로써 포착되는 실재의 표상이라는 의미에서 리얼할 수 있다는 것이다. 이러한 결론을 도출하는 과정에서 이 논문은 일차적으로 라깡이 어떻게 시선과 응시를 개념적으로 구분하면서 왜상의 논리를 구축하는지, 또 그러한 논리를 어떻게 〈대사들〉과 표현주의 회화의 이해를 위해 동원하는지를 살펴본다. 그런 다음, 이러한 라깡의 관점을 공간뿐만 아니라 시간과 청각의 차원까지도 보유하는 영화 매체에 적용할 수 있는 가능성을 살피기 위해 지젝을 필두로 하는 슬로베니아 학파가 제시하는 다양한 분석사례들을 경유하여 시간적 왜상, 공간적 왜상, 청각적 왜상의 차원을 검토한다. The notion that filmic images are reality-based and thus more real than any other media images in terms of its ontology is threatened by the appearance of the conception of ‘hyper-real’ in the digital age. However, the Lacanian term of the Real and its logical ramification of anamorphosis provide a new perspective on the commonly accepted idea of films’ being real. In short, film could be real not in the sense of the honest reflection of reality, but in the sense of the representation of the Real captured as a form of anamorphosis. This conclusion is derived from exploring how Lacan distinguished the concept of gaze from that of look and built the logic of anamorphosis, and how he used these conceptions in order to explain the significance of The Ambassadors and a few expressionist paintings. By applying Lacan's ideas on paintings to cinema, Zizek and the other Slovenian scholars have tried to analyze a variety of filmic examples mainly from Hitchcock's films. These examples, which can be categorized into three groups such as the temporal anamorphosis, the spatial anamorphosis and the auditory anamorphosis, show how successful the Lacanian conception of anamorphosis can be extended to another medium of cinema.

1990년대 이후 한국영화에서 ‘코믹 모드’의 문제

김소연(Kim, Soh Youn) 한국영화학회 2014 영화연구 Vol.0 No.60

This study is to clarify why and how Korean society, Korean mass culture and Korean cinema have been captivated by the imperative of ‘the comic’as the hegemonic affect especially during the early 1990s. It was historically conditioned by the rapid paradigmatic shift from the “the era of revolution” to “the era of postmodernism” especially after the partial success of June uprising in 1987 and the fall of East European socialist bloc. Particularly depending on the notion of transitional period and Zupan?i?’s conception of the minimal difference between the sublime and the comic, this study asserts that the romantic comedy films planned and produced by the newcomers in the film industry showed the characteristics of the transitional period, which refers to the oscillation of (un)conscious desire between the 80s’values like true and pure love and the 90s’ones like wealthy and classy lifestyle for petit-bourgeois professionals. According to Zupan?i?, there are two kinds of comedy: the subversive one and the conservative one. The former can be achieved by preserving the gap or the minimal difference between the sublime and the comic (or trivial), but the latter uses the fall of the sublime into the trivial to make people laugh. The former shares the psychoanalytical structure with love because we love somebody not just because of her transcendence but also because of the approachability toward her through the trivial. Korean romantic comedy films in those days can be interpreted as having both tendencies because their common narrative-lines covering a couple’s marriage, separation and reunion provoke the suspicion of love as well as the belief in love. That is why the films can be categorized as containing the transitional characteristics.

1960년대 만주활극 영화에서 가족 로망스와 (탈)경계 욕망의 문제설정

김소연(Kim, Soh-Youn) 한국현대정신분석학회 2016 현대정신분석 Vol.18 No.2

〈수〉 : 후근대를 사는 히스테리적 주체의 운명적 죽음에 관한 보고

김소연(Kim Soh Youn) 한국영화학회 2007 영화연구 Vol.0 No.33

Soo was not welcomed by the majority of spectators mainly because the film left the 'unkind' margins and gaps in its narrative. Nevertheless, one might find this film interesting, considering it as an allegorical work in which the protagonist showed the destined death of the hysteric subject in postmodern Korea. Then, who is the hysteric subject exactly? From the perspective of Lacanianism, it is characterized as being resistant to the master by repeated asking of 'who am I?' to the Other, not accepting the answer from the Other. In Korean history, the military dictator(ship) in the 80s posited itself as the master who imposed the law(s) to the people. The hysteric subject, so called the 386 generation, consisted mostly of the university students and religious leaders, was protesting against the dictatorship badly, and their resistance finally reached the achievement of formal democracy in the 90s when the academic discourse began to be dominant instead of the master's discourse. Accordingly, most hysteric subjects adjusted themselves to the new symbolic order. However, what if the hysteric subject still insists to be resistant to the postmodern condition? I read this film as an answer to that supposition. In this film, the protagonist Taesoo and his twin brother Taejin, Taesoo's patron Song In and Taejin's previous supposed-to-be-boss Gu Yangwon are in the relationship between the doubles. However, the binary opposition between the good and the evil does not fit into this relationship since Taesoo seems to on the side of the weak and Gu Yangwon represents the successful father figure and Taejin and Song In cannot be fully justified as being trustful. This mingled evaluation may be one condition of the postmodern. In addition, That Gu Yangwon, the father of jouissance kills Song In, the father of prohibition could be the other condition of the postmodern. As a hysteric, Taesoo fights on behalf of his brother against Gu Yangwon who must order to kill Taejin. In fact, it is an impossible trial to set him against Gu Yangwon who represents the powerful postmodern order itself. However, Taesoo dares to do that without any hesitation, as Taejin is his kernel of identity outside of him. The result is no doubt failure, but for both of them, Taesoo and Gu. Everybody seemed not to be survived, except for Taesoo for the time being. It reads as the auteurs willful perspective under which the hysteric can change the circumstances and still be alive. However, this film leaves the unconscious fear of the next generation who is raised by the father of jouisseance and can deal with knives from behind with great skills and with no mercy.

작가주의 영화이론의 새로운 가능성을 위한 시론

김소연(Kim, Soh-Youn) 한국영화학회 2012 영화연구 Vol.0 No.53

Has the era of auteurism in cinema studies finished? Since Barthes and Foucault proclaimed ‘the death of author’, the classic authorship as well as the structuralist authorship seemed to have been swept away at least on the stage of film theory. However, still, studies on authors and their filmic universes have been proliferous, only if they need not provide opinions on their theoretical foundation. In order to solve this discordance, I tried to examine a new possibility of cine-auteurism by way of the Lacanian aesthetics. Though Lacan’s psychoanalysis has been notorious for its abstruse, its unique theory of subjectivity and art, a radicalized version of Freudian perspective, seem to be reliable especially when the postmodern philosophers refuse to count on the subjectivity as the locus of resistance and creativity. In this essay, Late Lacan, whose pendulum swung toward the conflict between the totalizing Symbolic and the slipping Real, is mainly referred to. According to him, art, artist and artistry are all knotted with the dimension of the Real, that is, the lack or failure of the Symbolic, insofar as they use the letters and the images. As psychoanalysis aims at the subjective liberalization from the necessary order of the Other, to which he is subjected, the artist (auteur), whose subjectivity is defined not as the empirical individuality but as the one of singular universality, is supposed to be the nominator inventing a hole around which the Symbolic is constructed. Therefore, applying the Lacanian perspective of literature and fine art to cinema, the auteurist question of ‘who can produce the new meanings?’ is changed into that of ‘who can make it happen to produce the new meanings?’. In addition, cine-auteurism, combinint the individuality and politics, is ultimately expected to resymbolize the world.

장르적 상상력과 실재적 리얼리즘의 윤리학

김소연(Kim Soh Youn) 한국영화학회 2005 영화연구 Vol.0 No.27

The middle 90s has been considered as the time of ending the era of 'Korean new wave' cinema and of beginning the era of so called the problematic post-Korean new wave cinema. The most characteristic difference between Korean new wave cinema and post-Korean new wave cinema was the transition from the realistic compulsion to the generic imagination with unique individual styles. Today, according to Kim Young Jin, Korean cinema could be classified into four groups: the commercial project cinema; blockbusters; auteur films; and some other films in between art and entertainment, which is characterized by its generic styles with auteurist touch. Memories of Murder. A Bittersweet Life. Old Boy. Sympathy for Mr. Vengeance, The President's Last Bang, Antarctic Journal. Sympathy for Lady Vengeance etc. are supposed to belong to the fourth category. When the generic codes began to be actively adopted, critics saw this phenomenon as a compromise with commerciality by the realist group. However, psychoanalysis can help illuminate the fact that the generic imagination is not always the instrument of consumerism. Psychoanalysis teaches us that the locus of the truth is not in reality, but in psychic reality, and the truth can be revealed with more honesty when it is carried in fictions. Thus, insofar as the realism deals with reality structured by fantasies, according to Lacan, it cannot approach to the real. Generic imagination might be the better way to make the real return. When the real, or the real of desire, comes out to reality, it forces us to answer to the kind of ethical questions(such as "is it right to make love to his daughter?" or "who could judge the criminal without any criminal intentions?") disturbing our balanced common senses and making us 'act' in a Lacanian sense. We might call this kind of films leading us to the shock of truth "the real realist cinema". Ironically enough, the problems in reality such as the reunification of the nation or the conflicts between classes etc, which used to be the social realist films' interests from the 1980s to the middle of the 90s are now becoming the most popular contents of the other kind of genre films, that is the commercial project films. Comparing to this kind of movies, the real realist films are much more radical though they seem more unreal, generally speaking, in their contents as well as their forms, insofar as they provide us the moment of rethinking the logics supporting the existent symbolic order. And this radical instance is the auteurist aspect of the real realist films if we still can count on the auteurist ideas in relation to the ethics of film-making. In short, the generic character of a film does not make it a anti-realist film. Nevertheless, the generic imagination staging the real does not automatically make a film 'desirable'. What is at stake is the sexuational logic in dealing with the real because Lacanian thoughts insist that only the feminine subject can be the ethical 'subject' who can creates the new symbolic order. The masculine logic can allow the partial freedom of realizing exceptions in the existent symbolic order. Therefore, it is time to rethink and recategorize the realist tradition of Korean cinema The new category of 'the real realism' indicates only one of the starting points.