경성(京城)을 배경으로 한 사극(史劇)에 나타난 민족(民族) 담론

김시무(Kim See Moo) 한국영화학회 2009 영화연구 Vol.0 No.40

My aim in this thesis is to study National Discourses in so-called Korean Costume Films with setting in Capital Kyoungsung from 1930s to 1940s. As we all know, Kyoungsung is the capital of Chosun for the period of Japanese imperialism occupation. What is a costume film? According to F. E. Beaver, a costume film is a motion-picture genre characterized by historical pageantry and spectacle. Since the beginning of the film narrative, the costume spectacle has been a commercial mainstay of the screen. In this context, I would like to call these films with setting in Capital Kyoungsung a costume film. My main point is that while a costume film is based upon fictional events, a historical film is based upon historical facts. As in the past, a historical film with setting in Japanese imperialism seeks to express a national consciousness. However, present costume films have a tendency to fling off an oppressive feeling on historical facts. With this premise, I deal several Korean films with setting in Japanese imperialism. These films are Radio Dayz(2008), Modern Boy(2008), Once Upon a Time(2008), and Shadow Murder(2009). First of all, these films seek to escape from the matrix of The National History. Also these films seek to represent Kyoungsung as a space of play and freedom. Nevertheless, there is a common feature in these films. That is, these films deal with a question of national discourse unconsciously. The reason that I'm taking notice of such a question is that there is still a ghost of nationalism haunting in these films with setting in Japanese imperialism. According to professor Kim. Kibong, this results from that a historical consciousness of Korean people is still stick to the matrix of The National History. Externally, these films aimed to express the mood and spirit of modem times and to expose the personal desire of modem boy & modem girl. However, internally, these films were caught in a trap of nationalism, that is, of grand discourse of the national. Therefore, in this thesis my main task is critically to inquiry an obsession of anti-Japanese sentiments, and then, to seek the method to escape from the matrix of The National History. Beyond this matrix, we have to seek diversities of discourse. These films are on the way from the matrix of The National History to the desert of the Real.

기획논문: "한국영화 7선": 2015년 한국영화를 말하다 : 장률 감독의 <경주>: 트랜스-로컬 시네마 삼부작의 완성

김시무 ( See Moo Kim ) 한양대학교 현대영화연구소 2015 현대영화연구 Vol.11 No.1

장률 감독의 <경주>(2014)는 그가 <이리>(2008)이후 한국의 지명(地名)을 제목으로 삼은 두 번째 영화다. 영화는 북경대학교 교수로 재직하고 있는 최현(박해일)이 사망한 김창희 선배의 빈소를 찾아 대구공항에 오는 것으로 시작한다. 이후 최현은 7년 전 선배들과 여행을 했던 경주로 간다. 그리하여 최현은 경주의 전통 찻집에서 미모의 여주인인 공윤희(신민아)를 만난다. 그는 그녀에게 벽에 있었던 춘화의 소재에 대하여 질문한다. 두 사람은 서로에게 호감을 갖고 윤희는 최현에게 계모임에 합석할 것을 권한다. 음식점에서 최현은 박교수, 이형사, 플로리스트 강 등 윤희의 지인들과 만나서 즐거운 시간을 보낸다. 한편 최현은 박교수와 남북정치 문제로 언쟁을 벌이기도 한다. 그날 밤 최현은 윤희의 집에서 묵게 되지만 서로에 대한 애정 어린 관심에도 불구하고, 둘 사이에 불륜은 없다. 최현은 새벽에 윤희의 집을 떠나고, 윤희는 최현이 그토록 찾고 싶어 했던 춘화를 보기 위해서 찻집의 벽지를 뜯어낸다. 마침내 모습을 드러낸 문제의 그림은 젊은 남녀가 좌식 체위로 성관계를 맺는 춘화였다. 영화 <경주>는 삶과 죽음이 공존하는 도시인 경주를 배경으로 한 사랑이야기이다. 또한 이 영화는 그러한 설정을 통해서 전쟁의 위협과 평화가 상존하는 한반도의 정세를 은유적으로 묘사하고 있다. Gyeongju (2014) of Director Zhang Lu is the second film named after Korean city since the film Iri (2008). The film begins with the arrival of Choi Hyun (Park Hae-il), who served as a professor at Peking University, in Daegu Airport to visit the mortuary of the deceased senior Kim, Chang Hee. And then, Choi Hyun goes to Tourist town Gyeongju which he has traveled with his seniors 7 years before. Choi Hyun meets Gong Yoon-hee (Shin Min Ah), the beautiful hostess of the traditional tea house in there. He asked about the whereabouts of her pornography was on the wall. The two people have a friendly feeling toward each other, and Yoon-hee recommend to Choi Hyun that he join us in social meeting. In a Korean restaurant, Choi Hyun nice to spend a good time with friends of Yoon-hee. Dayeon, Professor Park, Detective Lee, and Florist Gang etc. And there Choi Hyun is arguing with Professor Park about a north-south political issues. That night Choi Hyun spend the night at the home of Yoon-hee, but there was no affair between them despite the interest in each other. Choi Hyun left the house of Yoon-hee in the early morning, Yoon-hee tore up the wallpaper of the traditional tea house looking for pornography which Choi Hyun wanted so much to see. The picture of the problem was pornographic in young man and woman entering into sex positions. The film Gyeongju is dealing with the love story in the background of a city in which the life and death coexisted, because there are many tombs. Through these settings, this film describes the situation on the Korean Peninsula to the lingering threat of war and peace metaphorically.

스탠리 큐브릭 감독 연구 -반전(反戰) 영화 삼부작을 중심으로

김시무 ( See Moo Kim ) 부산대학교 영화연구소 2014 아시아영화연구 Vol.6 No.2

스탠리 큐브릭(Stanley Kubrick) 감독은 전쟁이라는 주제에 지대한 관심을 갖고 있었다. 그는 생애 통산 단편영화 3편과 장편영화 13편을 만들었는데, 그 가운데 전쟁을 직-간접적으로 다룬 영화들은 무려 여섯 편이다. 본 논문에서는 이 가운데 반전(anti-war)이라는 주제의식을 강하게 드러내고 있는 작품 세 편을 택하여 분석대상으로 삼을 것이다. 반전(反戰)을 본격적으로 표명한 <영광의 길>(Paths of Glory, 1957)은 제1차 세계대전을 배경으로 삼고 있다. 여기에서 큐브릭은 자신의 영달(榮達)을 위해서 부하들을 희생양으로 삼는 장군들의 위선을 폭로 하고 있다. 그리하여 전쟁의 무용(無用)함을 보여주고 있다. 그의 걸작 가운데 하나인 <닥터 스트레인지러브>(Dr. Strangelove, 1964)는 냉전(the Cold War) 시대를 다루고 있다. 반공(反共) 이념에 사로잡힌 한장군이 상부의 허가 없이 핵전쟁을 일으켜 인류를 파멸로 몰고 간다는 내용을 담고 있다. <풀 메탈 재킷>(Full Metal Jacket, 1987)은 월남전을 정면에서 다루고 있다. 이 영화는 두 부분으로 구성되어 있는데, 전반부는 신병들의 기 Stanley Kubrick had a great interest in the subject of the war. He directed 3 short films and 13 feature films in his lifetime, among those six films dealt with a war directly or indirectly. In this paper, I will choose three films among them which reveal a strong sense of the subject of anti-war in the work, and I will analyze them. Expressed an earnest anti-war Paths of Glory(1957) was a film about the real story in First World War, in this film Kubrick exposes the hypocrisy of generals who made their men into scapegoat in order for their own promotion. This film shows the futility and irony of the war in the trenches in WWI. One of his masterpieces Dr. Strangelove(1964) deals with the era of the Cold War. The general who possessed with anti-communist ideology, launches a nuclear attack on the Soviet Union without the knowledge of his superiors, and causes the destruction of the human race. Next film Full Metal Jacket(1987) deals with the Vietnam War from the front. This film is made of two parts. The first half follows a group of recruits in boot camp under the command of the punishing Gunnery Sergeant Hartman. The second half shows one of those recruits, Joker, covering the war as a correspondent for Stars and Stripes set in Vietnam. Here, Kubrick shows the sequence in which the U.S. Marines are fighting against a sniper girl, and through such set, discloses the United States` ugly war against the weak powers. Kubrick was a lifelong pursuit of technical perfection and had an experimental style. But he was a very good value in terms of subject matter and hold on perspective vision.

르네 지라르의 ‘욕망의 삼각형’을 통한 〈기생충〉의 재해석

김시무(Kim, See Moo),황영미(Hwang, Young Mee) 한국영화학회 2020 영화연구 Vol.- No.85

이 논문은 르네 지라르의 ‘욕망의 삼각형’이라는 개념틀로 봉준호 감독의 <기생충>을 분석한 것이다. 지라르의 전제는 욕망의 주체는 대상을 직접적이고 자발적으로 욕망하는 것이 아니라 반드시 중개자(仲介者)를 통해서 모방한다는 것이다. 극중 기우가 박사장의 딸 다혜를 사랑하게 된 것은 민혁이란 중개자를 통해서였다. 그런데 이 모방욕망은 전염성을 가지고 있다. 다혜의 입장에서 볼 때, 그녀가 기우에게 적극적일 수 있었던 것은 아이러니컬하게도 기정의 존재 때문인데, 이는 다혜가 기정을 기우의 여자친구로 오인하는 데서 분명하게 드러난다. 다혜에게는 기정이 욕망의 중개자로 등장한 셈이다. 기택과 근세도 동익을 둘러싸고 결국 상호 중개를 통한 ‘욕망의 삼각형’을 형성하게 되는데, 지하벙커에 살면서 박사장에게 존경을 표하던 근세의 행동을 기택이 나중에 그대로 모방하게 되는 것이다. 충숙과 문광도 연교를 둘러싸고 역시 상호 중개를 통한 ‘욕망의 삼각형’을 형성하게 되는데, 사모님처럼 보였던 문광의 행보를 나중에 충숙이 그대로 모방하게 되는 것이다. 이처럼 근세와 문광은 욕망의 중개자로 각각 기택과 충숙의 모방욕망을 부추겼던 것이다. 가족 구성원 개개인을 집단으로 확대하면 ‘욕망의 삼각형’은 보다 분명한 형태로 드러난다. 즉 기택 네 가족은 문광과 근세 부부의 중개를 통해서 박사장 가족을 욕망의 대상으로 삼게 된 것인데, 모방적 경쟁으로 인한 갈등이 증폭되고 결국 양자 간의 차이가 소멸되면서 파국을 맞게 된다. <기생충>은 모방 욕망의 실현장이라도 되는 것처럼 지라르의 욕망이론에 잘 부합하는 텍스트라는 것이 이글의 핵심논지이다. This paper utilizes the framework of ‘triangular desire’ to analyze the film, “Parasite”, directed by Bong Jun Ho. The basis of Girard’s idea is that a desire for an object is not the result of direct and autonomous attachment, but rather as a form of mimicry of a subject of desire, also referred to as a mediator. It was Min-Hyuk that acted as a mediator when Ki-woo fell in love with Da-hye, the daughter of Mr. Park. What is notable about such mimetic desire is that it is contagious. In Da-hye’s perspective, it was ironically the existence of Ki-jung, whom she mistook as Ki-woo’s girlfriend, that led her to be so enthusiastic towards Ki-woo. For Da-hye, Ki-jung was the mediator for her desire for Ki-woo. Ki-taek and Geun-sae also form a frame of triangular desire through their mutual mediation around Mr. Park. We can witness this when Ki-taek later adopts the exact ritual that Geun-sae practiced in the underground bunker when expressing his respect for Mr. Park. In the same sense, Chung-sook and Moon-gwang form another triangular desire revolving around Yeon-gyo, observable when Chung-sook later adopts the pretentious manners previously embodied by Moon-gwang. In a sense, it was Geun-sae and Moon-gwang that respectively indulged the mimetic desires of Ki-tae and Chung-sook. The frame of triangular desire becomes even more visible when we group individual characters into families. It can be observed that the mediation of Moon-gwang and Geun-sae led to the Kims perceiving the Parks as a target of desire. Eventually, conflict arising from mimetic competition is escalated to a point where difference is obliterated, and everything falls apart. This paper underlines how well the film ‘Parasite’ fits into Girard’s concept of desire, as if it was a case study for mimetic desire.

앨프레드 히치콕의 초기 영국영화 연구: "누명쓴 사람"이라는 주제를 다룬 영화들을 중심으로

김시무 ( See Moo Kim ) 부산대학교 영화연구소 2013 아시아영화연구 Vol.6 No.1

본 논문은 앨프레드 히치콕 감독이 만든 초기 영국영화들에 대한 연구이다. 예컨대 <오명>, <이창>, 그리고 <현기증>과 같은 할리우드 영화들이 이룩한 성취는 수많은 평자들에 의해서 인정을 받았던 반면, <하숙인>, <블랙메일>, 그리고 <39계단>과 같은 초기 영국영화들은 이에 합당한 주목을 받지 못했다. 심지어 트뤼포 감독은 히치콕의 경력을 살펴보았을 때, 히치콕이 창조적인 면에서 정점에 오른 것은 미국에 도착한 이후라고 주장하기도 한다. 물론 이에 대해 히치콕 자신은 부정적이다. 그는 자신의 영국 시절을 ‘영화적인 감각을 개발(開發)한 시절’이라 부르고, 할리우드 시절을 ‘아이디어가 개화(開花)한 시절’이라고 부를 것을 제안한다. 한편 로버트 샤일은 히치콕이 영국에서 활동했던 시기를 미국에서 보다 원숙한 작품을 만들기 위한 아마추어의 도제시기였다고 보는 것은 잘못이라고 지적한다. 양 시기 간에 우열은 없다는 것이다. 본 논문에서 연구자는 이 같은 관점에 따라서 히치콕의 초기 영국영화들을 재검토하고 있다. 히치콕은 “영국에서 습득한 기술과 카메라에 대한 감각 및 지식은 할리우드에서도 크게 변한 것이 없다”고 했는데, 이는 전적으로 타당한 말이다. 본 논문에서는 히치콕이 영국에서 만든 다섯 편의 영화들을 분석대상으로 삼고 있는데, 이들의 공통점은 ‘누명쓴 사람(the wrong man)’이라는 테마를 다루고 있다는 점이다. 히치콕이 자신의 세 번째 작품인 <하숙인>에서 처음 도입한 이러한 주제는 영국 최초의 유성영화인 <블랙메일>과 스릴러 영화인 <살인>을 거치면서 변주를 겪었고, <39계단>에 이르러서 정점을 이루었다. 그리고 <영 앤 이노센트>에서 가벼운 톤으로 반복되고 있다. 히치콕은 이밖에도 기술적 측면에서 영국영화를 혁신시키는데 기여를 했는데, <블랙메일>과 <39계단>에서 사용된 사운드와 이미지의 대위법적 병치는 그가 사운드 메커니즘에 정통했음을 잘 말해준다. 그리고 <영 앤 이노센트>에서 사용된 전진 트랙 촬영은 그가 카메라 기법에도 일가견이 있었음을 보여주었다. This paper is the study of the early British films of Hitchcock. Critics usually tend to see Hitchcock`s British period as a kind of youthful apprenticeship period for entering the United States to make his mature works, but it is an error. Hitchcock is already in the UK rose to class was a genius director. A series of films he made in the UK by itself has integrity and originality. Furthermore, since the subject matter and style of his famous also were formed in this case. In this paper, I will look at the films incorporating such themes as the "wrong man". In 1926, Hitchcock`s luck changed with his first thriller, The Lodger: A Story of the London Fog. The film, released in January 1927, was a major commercial and critical success in the United Kingdom. Some commentators regard this piece as the first truly "Hitchcockian" film, incorporating such themes as the "wrong man". In 1929, Hitchcock began work on his tenth film Blackmail. While the film was still in production, the studio, British International Pictures (BIP), decided to convert it to sound. As an early ``talkie``, the film is often cited by film historians as a landmark film, and is often considered to be the first British sound feature film. The story is as follows. Alice White is the daughter of a shopkeeper in London. Her boyfriend, Frank Webber is a Scotland Yard detective. Frank takes Alice out one night, but she has secretly arranged to meet another man(a painter). Later that night Alice agrees to go back to his flat to see his studio. The painter has other ideas and as he tries to rape Alice, she defends herself and kills him with a bread knife. When the body is discovered, Frank is assigned to the case, he quickly determines that Alice is the killer, but so has someone else and blackmail is threatened. Murder! (1930) is the typical thriller. The police find the actress, Diana Baring, near the body of her friend. All the circumstantial proofs seems to point to her and, at the end of the trial, she is condemned. Sir John Menier, a jury member, suspects Diana`s boyfriend, who works as an acrobat wearing a dresses. In 1933, Hitchcock was once again working for Michael Balcon at Gaumont-British Picture Corporation. His first film for the company, The Man Who Knew Too Much (1934), was a success and his second, The 39 Steps (1935), is often considered one of the best films from his early period. The story is as follows. Richard Hannay is a Canadian visitor to London. At the end of "Mr Memory"`s show in a music hall, he meets Annabella Smith who is running away from secret agents. He accepts to hide her in his flat, but in the night she is murdered. Fearing he could be accused on the girl`s murder, Hannay goes on the run to break the spy ring. In film, Young and Innocent (1937), a film actress is murdered by her estranged husband who is jealous of all her young boyfriends. The next day, writer Robert Tisdall (who happens to be one such boyfriend) discovers her body on the beach. He runs to call the police, however, two witnesses think that he is the escaping murderer. Robert is arrested, but owing to a mix up at the courthouse, he escapes and goes on the run with the Chief Constable`s daughter Erica, determined to prove his innocence. This film was released in the title of Girl was Young! in the US.

정신분석학적 영화기호학 연구

김시무(Kim See Moo) 한국영화학회 2008 영화연구 Vol.0 No.36

This thesis is a study of the psychoanalytic semiotics of film, which focuses on Lacan's theory of subject and Peirce's Triadic Categories of Signs. Lacan has long been a name associated with the analysis of film. He has played a fundamental role within film studies. Ironically, as film theory was developing a line of Lacanian thought that focused on the imaginary and the symbolic in the late 1960s and 1970s, Lacan himself turned toward the Real as the central category of experience. The point is that the signifier's authority is not absolute, but dependent on failure. Therefore the symbolic is not perfect, there is a barrier too. Here failure is necessary because the signifier must open up a space through which the subject can enter. If there are no new entrants, no new subject. The subject emerges only because the symbolic order remains incomplete and split. According to Lacan, the Real is not simply what resists symbolization absolutely, but also the pivotal category in the process of subjectivization. In this context, I deal with the questions proposed by the so-called New Lacanians, Slavoj ?i?ek and Todd Mcgowan etc.. Instead of concentrating on the imaginary and the symbolic, when assessing the film experience in relation to a spectator(the subject), they focus on the imaginary and the Real. And, especially, ?i?ek concerns with the concepts of jouissance(enjoyment) and the drive. In this thesis, I would like to propose an alternative. It is the developmental semiotics, which focuses on Peirce's Triadic Categories of Signs. In emphasizing the dyad, most of modem psychoanalytic film theories have overlooked the Third as the grounding context. The American pragmatist Peirce carefully traces a triadic structure built on the foundation of his three categories of relation: firstness, secondness, and thirdness. In this thesis I hope to show how the Peirce's Triadic Categories of Signs and Lacan's three registers complement each other. According to Peirce, First is the conception of being or existing independent of anything else, Second is the conception of being relative to something else. And Third is the conception of mediation, whereby a first and a second are brought into relation. We could find the model of triadic signs of Peirce in Director Krzysztof Kieslowski's artistic film The Double Life Of Veronique. The story itself is intriguing: Two girls are born at the same time in Poland and France. Veronika lives in Poland and Veronique lives in Paris. They're identical. They are the two soul-mates. Both suffer from heart failure and are blessed with beautiful voices. However, they don't know each other. Veronika gets a place in a music school, works hard, but collapses and dies on her first performance. At the same time, Veronique's life seems to take a turn and she decides not to be a singer. The Double Life of Veronique is a highly cerebral story of two people who feel a profound connection with someone they do not know and have never met. This film is a highly provocative film that examines a soul's search for identity and connection. The triadic signs of Peirce and three registers of Lacan could be applied to this film as follows; Firstness is the realm of the unbounded, undifferentiated state, a state of potential, therefore firstness is correlated with Lacan's register of the Real. Distinct from reality, which is a social construction, the Real is that aspect of experience beyond an epistemological frontier. In the category of firstness, signs relate to their objects by way of resemblance through qualitative similarity; such signs that relate to their objects by way of resemblance are known as icons. For example, when Veronika first met Veronique in Poland, she feels an uncanny emotion. Because they are too identical. That is, Veronique is the icon of Veronika. Secondness is the dynamic category of force and impact, in particular the kind of impact that takes place in a dyadic relation. I

스타 페르소나와 관객간의 상호 연관성 연구

김시무(Kim See Moo) 한국영화학회 2007 영화연구 Vol.0 No.32

Film performers tend to fall into three categories: stars, supporting players, and extra. Stars are usually the best known actors who play the leading roles in a film. Supporting players have secondary and supporting roles in a production. Supporting players also called character actors. The star is a very important person(VIP) in commercial films. Stars continue to play a stabilizing role in the contemporary film industry, providing filmmakers with built-in audiences who regularly watch films in their favorite actors and actresses appear. Then, what is the star persona? According to Stephen Prince, the star persona is the collective screen personality that emerges over the course of a star's career from the motion pictures in which he or she appears. The star persona is a collective creation generated by many films and is greater than any single performance in an individual film. In this context, to become a star is to have a star persona. According to John Belton, every star houses several different personalities, though they all tend to coexist graciously with one another rather than battle for control. At the base of the star persona lies an actual person, whose physical attributes and psychological makeup provide the foundation for the construction of the personality of the performer who appears on screen. Stars tend to fall into one of two categories. They are either personality stars or character stars. Of course, we shouldn't confuse character stars with character actors. For example, John Wayne, Barbra Streisand, and Julia Roberts are all performers who have constructed an enduring screen personality that is greater than represented by their appearance in any given film. In the case of Korean stars, Han Sukgyu, Choi Minsoo, and Jeon Jihyun belong to this categories. By contrast, the character star tends to play a greater range of roles, frequently changing visual and behavioral characteristics from role to role. Examples of character stars are Robert De Niro, Dustin Hoffman, and Meryl Streep who change accents, nationalities, and body language from one role to the next. In the case of Korean stars, Song Kangho, Choi Minsik, and Jeon Doyoun belong to this categories. Jeon shows an excellent performance in the film Secret Sunshine directed by Lee Changdong. In this thesis, I deal with an interrelationship between a star persona and spectators. My premise is that if a performer who belongs to personality star could play the role that fits for his own personality, then he or she can please audiences. On the contrary, if a character actor without star persona play the leading role in a film, an attraction of the character will be reduced. Therefore, audiences will lose half their interest in his or her film. From the viewpoint of spectators, the natural and harmonious fusion of a performer' personality and his character is a key point for appreciating films.

제4차 산업혁명 시대의 교양교육 -영화를 활용한 ‘포스트휴먼’에 대한 고찰-

김시무 ( Kim See-moo ) 숙명여자대학교 교양교육연구소 2020 교양교육과 시민 Vol.1 No.-

제4차 산업혁명의 시대를 맞이하여 각 대학에서 행해지고 있는 교양교육에도 새로운 변화가 불가피해졌다. 새로운 산업시대에 적절히 대응하기 위해서는 빅-데이터 분석, 인공지능, 로봇공학, 사물인터넷, 무인운송수단, 3차원 인쇄, 나노기술 등에 대한 기본적 이해가 절실히 요구되기 때문이다. 본 논문에서는 먼저 포스트휴먼의 관점에서 영화에서 나타난 인공지능과 로봇공학을 살펴볼 것이다. 본 연구는 또한 교양교육의 일환으로 어드벤처 액션 영화에서 나타나는 ‘생명기술로 매개된’ 주체로서의 ‘포스트휴먼’에 대한 살펴볼 것이다. 포스트휴먼은 첨단 과학기술을 토대로 하여 만들어진 인공지능, 로봇, 안드로이드, 복제인간, 사이보그 등과 같은 인공물들을 총칭하는 개념이다. 로지 브라이도티에 따르면, ‘포스트휴먼’은 ‘페미니스트 주체’, ‘사이보그 주체’, ‘유목적 주체’, ‘앙코마우스’ 혹은 ‘복제양 돌리’처럼 개념적 인물이라고 한다. 인간이 기술과 융합하여 생겨난 것이 비인간이 될 터인데, 이것이 기술의 발달로 인하여 끝없이 진화하여 인간에 가까워지게 됨으로써 결국 포스트휴먼으로 거듭나게 된다. 브라이도티는 탈-인간중심주의 관점에서 포스트휴먼 주체 모델을 탐구하는데, 동물-되기, 지구-되기, 기계-되기는 자아와 타자의 관계를 새롭게 구성해보는 실험적인 시도들이다. 본 연구는 이런 전제에 입각하여 포스트휴먼 주체를 탐구할 것이다. 이 논문에서는 <배트맨> 시리즈에 나타난 캐릭터들을 ‘동물-되기’라는 관점에서 분석하고, <로보캅>과 <채피>의 캐릭터들을 ‘기계-되기’라는 관점에서 각각 분석을 하고 있다. 영화를 통한 이 같은 사례연구는 제4차 산업혁명의 시대를 맞이하여 교양교육의 변화에 일조를 할 것이다. In the era of the Fourth Industrial Revolution, new changes were inevitable in the general education at each university. The achievement of higher education is seen in the balance of two wings: major education and general education. The importance of general education, which is one axis, cannot be overemphasized. In order to respond appropriately to the new industrial era, basic understanding of big-data analysis, artificial intelligence, robotics, internet of things, unmanned transportation, 3D printing, and nano-technology is urgently required. In this paper, we will look into artificial intelligence and robotics in several films from the perspective of posthuman, which is based on the judgment that it can be very useful as a basic material for general education. This study will examine ‘Post-Human’ as the subject of ‘bio-mediated’ in adventure action films as part of general education. Post-Human is a concept that collectively refers to artifacts such as artificial intelligence, robots, androids, clones, cyborgs, etc., built on advanced science and technology. According to Rosi Braidotti, ‘Post-Human’ is a conceptual persona, such as ‘feminist subject’, ‘cyborg subject’, ‘nomadic subject’, ‘Onco Mouse’ or ‘duplicate Dolly the sheep.’ It is called figuration. What human beings have merged with technology will become non-human, which is constantly evolving and close to humans due to the development of technology, and eventually reborn as a posthuman. Braidotti presupposes in her book The Posthuman that “human longitudinal superiority is deconstructed, hybridized, and the embodied structure of the expanded self forms a natural-cultural continuum.” She argues that “the subject is a transversal being completely submerged and inherent in the network of relationships that are non-human such as animals, plants, viruses, etc.” Braidotti explores the post-human subject model from a post-anthropocentric perspective. Becoming-animal, becoming-earth and becoming-machine are experimental attempts to reconstruct the relationship between the self and the other. This study will explore posthuman subjects based on this premise. Although science fiction films and adventure action films do not use the concept of ‘post-human’, they have been portraying ‘posthuman’ characters as subjects of ‘bio-mediated technology.’ In this paper, the characters in the Batman series are analyzed in terms of ‘becoming-animal’, and characters of RoboCop and Chappie are analyzed in terms of ‘becoming-machine.’ The possible fictional characters in these movies may be real in the future. Case studies through films will help change general education in the era of the Fourth Industrial Revolution. We can also grasp the importance and necessity of ‘integrated arts education’ as a way to develop university general education to foster intelligent people.

루이스 부뉴엘 감독 연구

김시무(Kim See-Moo) 동국대학교 영상미디어센터 2011 씨네포럼 Vol.0 No.12

이 논문은 스페인이 낳은 가장 위대한 감독인 루이스 부뉴엘(Luis Bunuel)에 대한 한 연구이다. 본 논문에서 필자는 부뉴엘의 후기 걸작들 가운데 특히 부르주아의 결함과 어리석음을 비판적으로 다룬 두 편의 작품을 택해 분석대상으로 삼았다. 〈부르주아의 은밀한 매력〉과 〈욕망의 모호한 대상〉이 바로 그것이다. 사실 부르주아에 대한 비판은 부뉴엘의 거의 전작에 걸친 제재(題材)이기도 하지만, 이 두 작품은 그의 만년의 사상을 집약적으로 보여주고 있다는 점에서 특히 중요하다. 〈부르주아의 은밀한 매력〉에서는 여성 주인공과 함께 근사하게 식사를 하려는 부르주아의 욕망이 좌절(挫折) 되고, 〈욕망의 모호한 대상〉에서는 한 젊은 여성에게 빠져든 중년 사내의 성적 욕망이 끊임없이 지연(遲延)되고 있다. 이렇게 부뉴엘 감독은 상기 두 작품 속에서 아주 통렬하면서도 아주 신랄하게 부르주아들의 결함과 어리석음을 조롱하고 있다.

라캉의 주체개념 연구 : 상상적 기표에서 실재의 틈입까지

김시무 ( See Moo Kim ) 한국미학예술학회 2007 美學·藝術學硏究 Vol.26 No.-