리좀적 탈주로써 ‘-되기’ 생성 연구

유지나(Yu, GiNa) 한국영화학회 2014 영화연구 Vol.0 No.61

Much of the discourse about 〈Avatar〉(2009, James Cameron) centers around record financial profits of the film or the emotional 3D performance; however, this study focuses on the phenomenon of the “becoming-” mechanism according to Deleuze/Guattari’s Rhizome’s breakaway within the cosmo-ecological level of Pandora. The process of “becoming-” generates a breakaway. Through narrative text focusing image mise-en-scene, this “becoming-” process of hero Jake Sully is multifaceted as well as conflicted in accordance to the battle between the humans and the Na’vi tribe. In the process “becoming-” the de-territorialization happens by re-territorialization in which the mind-body replaced by the new properties of the assemblage. First, Jake “becoming-twin brother” in order to match twin brother’s avatar and “becoming-(secret) agent” for Colonel Miles Quaritch. In this first process, it is the issue to rescue his paraplegic legs, so ‘to be free’. For this mission, he is divided into two: one is ‘human-Jake’, the other ‘avatar-Jake’operated by genetically matched humans, Secondly, his “becoming-avatar” gives him joy of free in spite of obstacle s dues to Pandora’s nature’s power. This process brings ‘Jake-avatar’ as ‘Na’vi warrior’ as well as Neytiri’s lover. But his double roles puts him in very deep suffering such as video recording showing “who am I ?” question facing his breakaway’s de-territorialization level in the cracked mirror. Jake confesses to being a agent and the Na’vi take him and Dr. Grace captive. Finally, Jake reveals his owen way to “becoming-Na’vi” experiencing Dr. Grace death after facing Pandora’s Nature-mother (Eywa) and the destruction of Hometree by humans, the biological neural network native to Pandora, with many Na’vi tribe many others. Jake is then reconfirmed as a warrior of the Na’vi in the meeting at the Tree of Souls. In these repetitive but differential “becoming-”processes, 〈Avatar〉 text creates conflict between the human’s capitalistic civilization and Pandora’s ecological life network. Even though the text makes an ecologically ethical point through Rhizome’s breakaway of Jake, the text as a whole fits Hollywood’s strategy to expand global marketing.

여성 몸의 장르

유지나(Gina Yu) 한국영화학회 2001 영화연구 Vol.- No.16

Hostess genre/eroticism movies: Re-demarcation of period and genre One who has experienced Korean film history, will have confronted some questionable demarcations of genres/periods. From the mid 1970s through the 80s to the 90s, there is a common theme that female body is used as the main field that inspires the image and narrative. Particularly the effect of the restrictive circumstances surrounding film making in the 1970s, led to Korean cinema focusing directly on the female body, placing women in the center of the frame and developing tragic stories deeply tied to sexuality as the key narrative. If we view Korean cinema in the light of "Female Body Genres" as Linda Williams terms it, we use a re-demarcated period/genre framework as one of the core fields to explain Korean cinema is light of Korean social systems, especially the problem of gender repression. Mapping the "Female Body Genres" from hostess genre to erotic video(soft pornography) There is a tendency to consider the "Hostess Genre" as the major genre of the 1970s. Some go even so far as to call the 1970s the "unworthy" period of Korean cinema because such a large number of these films were produced. However, this superficial treatment does not recognize the important fact that genres should be examined through semantic and syntactic approaches as Rick Altman suggested. In that sense, the Female Body Genres is a valuable concept to re-evaluate the Hostess genre(mid 1970s), the erotic costume drama(80s) and the erotic video (90s) in the light of excessive representation of the female body. This genre continues today in the form of soft-pornography or pseudo-pornography appearing in video films and movie theaters today. Now the questions are: why did the Korean cinema choose this genre as one of the major genres over the decades? ; why is the female body represented in such an excessive way? ; why does the relationship between men and women show such strong conflict especially in the area of sexual desire"; why is that common narrative convention focused on a wealthy-old and powerful man meeting a poor young girl, abusing her and then ending unhappily in her destruction? In trying to answer these questions, we will encounter the issues of gender problem, conflicts between tradition and modernization, and the clash between pleasure and repression.

여성/몸의 이미지 재현체계 연구

유지나(Yu Gina) 한국영화학회 2007 영화연구 Vol.0 No.34

This paper's aim is to understand the body politics through the analysis of the representation mechanism in which how women's body images are composed in cinema using the gender code/structure connected with the opposition code. The body representation system in cinema is related to the post-modem human's value system based on body's relieved thoughts as well as to the cinema's substantial virtue from the beginning. In this context, the representative cinema texts such as 301 302 and 200 Pounds Beauty are very interesting to decode together since the both texts are made under the core women's body reaction facing the patriarchal gaze regarding women's body representation in the name of female's beauty. Through the analysis of the symbolic image signs about the female character's composition and transformation, the female characters are suffering because of the split identities's problems surviving as the subject as one-self. In this context, these two texts show very different strategies to treat the female body's representation system. For instance, 301 and 302 succeed in communicate via the carnival ritual which represent the healing of their own trauma. In contrast, Hanna/Jenny as heroin of 200 Pounds Beauty represents women's body as to reform, so to change and to correct to be loved and conformed by the male gaze through. Especially the later pursued bodily beauty project without any reflection on the notion of split subject problem combining the body's change to the ideal beauty and inner subject. Analysing these two significant texts regarding women's body project, one admits that the gender code is strongly and effectively constructed by female identity problem conforming or confronting regarding women's as body-subject using the opposition code.

60년대 한국 코미디

유지나(Yu Gina) 한국영화학회 1999 영화연구 Vol.- No.15

Comedy has been suppressed as a genre in the area of Korean film studies even though it has been one of the main genres. Unconsciously accepting the biased valuation such as "comedy-vulgarity", academic film discourse somehow stops serious consideration of Korean comedy's function and deep signification. But if we focus on the cinematic fact, especially from the point of spectatorship and the socio-filmic intertextuality, comedy is very important and is a key area to make a whole map of Korean cinema. That is why I introduce the 60's Korean comedy which was the most flourished. This article is composed of three parts. The first part proves how comedy was influential as genre during the 60's. But at the same time how academic discourse degraded comedy. The second part profiles the 60's comedy's characteristic points and types. Analyzing some comedy texts, the third part interprets comic plots and the main codes. This dissertation's assumptions and aims are as follows: 1. Comedy deserves to be considered a main genre with melodrama and action in Korean cinema genre mapping. 2. This study will cross the genre study in the realm of traditional film studies and socio-filmatic studies' recent point of view to show the nature and the social function of Korean comedy of the 60's, 3. As we all know, there is not enough filmic evidence before the 60's. There are two reasons for focusing on the 60's comedy: first, we can find some comedy films around the 60's; second, we can call the 60's the comedy period since almost every director and producer had experience making comic genre. 4. Since comedy does not have a standard narrative convention like other genres, the comic plot and comic code are very important to achieve the comic which is the aim and the attractive point of comedy in relation to the spectator. Analyzing the comedy text, we can find the comic plot as well as comic codes. Particularly this period's comedy share some main codes such as the capitalist code, gender code, masquerade code. These codes are surely the ideological attitude of the 60's in relation to the rapid changes of Korean society. 5. In addition to clarifying Korean comedy's nature and the narrative stratagem, this study's aim is to restore comedy in Korean cinema's mapping overcoming the bias based on the bias without cinematic fact.

취향의 배치와 탈영토화 여정 연구 : 영화 〈소공녀〉(2017)를 중심으로

유지나(Yu Gina) 동국대학교 영상미디어센터 2023 씨네포럼 Vol.- No.44

〈소공녀〉(전고운, 2017)는 집을 포기하는 동시에 취향을 선택한 주인공 미소(이솜 분)의 탈주여정을 재현한 텍스트이다. 이러한 미소의 공간 이동을 중심으로 진행되는 내러티브의 동력은 미소의 세 가지 취향- 위스키와 담배, 그리고 남자친구 한솔-이다. 이러한 취향에 따른 그녀의 탈주 여정은 ‘소수자-되기’를 실행하는 탈영토화 생성작용이기도 하다. 텍스트의 공간적 배경은 타인들의 거주공간으로, 가사도우미란 일을 하며 방문하는 집과 과거 대학시절 음악밴드를 함께 했던 다섯 친구들을 방문하는 “더 크루즈”를 중심으로 구성된다. 한때 같은 취향(음악밴드)을 공유했던 친구들의 변화된 일상을 보여주는 다섯 개의 시퀀스는 5인 5색의 거주 공간에서 벌어지는 억압적 공간과 정체성의 실종을 미소의 거주 경험을 통해 목격하게 해준다. 크루즈의 첫 번째 여정은 ‘최문영(베이스)’의 공간에서 벌어진다. 더 열심히 일해서 더 큰 회사로 옮겨갈 욕망을 가진 문영은 “스탠다드” 가치관에 길들여진 자기모순적 상황을 드러내준다. 크루즈의 두 번째 여정은 ‘정현정(키보드)’의 집에서 전개된다. 현정은 자신에게 맞지 않는 결혼/시집 관계를 보여주는 동시에 억압적 공간으로서 가사 풍경을 재현해 보인다. 크루즈의 세 번째 여정은 ‘한대용(드럼)’의 집에서 벌어진다. 새로 지은 아파트에 사는 대용은 원금 포함 이자에 시달리는 집을 ‘감옥’ 이라고 부르며 아픈 속내를 토로한다. 크루즈의 네 번째 여정은 ‘김록이(보컬)’의 집에서 벌어진다. 나이 들어가는 미소와 자신에게 필요한건 안정감이니 결혼부터 하자는 그의 제안은 안정적 삶보다 취향 중심의 삶을 살아가는 미소의 정체성을 보여주는 동시에 감옥처럼 갇히는 억압적 경험을 제공하기도 한다. 다섯 번째 여정은 ‘최정미(기타)’의 집에서 벌어진다. 시부모님이 준 대저택에서 전업주부로 사는 자신의 삶을 종교적 ‘수행’이라고 정당화하는 정미는 대저택이 자신의 취향이 아닌 상황에 적응하는 내재적 분열상을 보여준다. 자신의 취향 세 가지-담배, 위스키, 한솔-를 고수하며 남들처럼 살아가는 삶의 여정으로부터 탈주해나가는 미소의 공간 이동은 남들처럼 살기로부터 역행하는 소수자로서 ‘자신-되기’생성 과정이기도 하다. 그런 맥락에서 이 텍스트를 주도하는 미소의 취향 배치, 그중 하나인 한솔과의 이별과정으로 인한 취향의 재배치와 함께 보다 독립적인 탈주를 통한 탈영토화 과정은 MZ세대론과 함께 사회적 문제로 등장한 집과 결혼이라는 기존의 안정적 덕목이 해체되는 과정을 상징적으로 보여준다. Microhabitat (2017) is a text that reproduces the escape journey of the main character Miso, who gave up her house and chose her taste at the same time. The driving force of the narrative that revolves around Miso’s movement in space is Miso’s three tastes: whiskey and cigarettes, and her boy friend, Hansol. Her escape journey according to this taste is also a de-territorialization-creating action that executes ‘becoming a minority’. The spatial background of the text is the living space of others, centered around the house she visits while working as a housekeeper and “The Cruise”, which visits five friends who were in a music band in college. The five sequences showing the changed daily lives of friends who once shared the same taste (music band) allow us to witness the oppressive space and disappearance of identity taking place in the living space of five people and five colors through the experience of living in Miso. Cruise’s first journey takes place in the space of Choi Moon-young (base). Moon Young, who has a desire to work harder and move to a bigger company, reveals a self-contradictory situation tamed by “standard” values. Cruise’s second journey takes place at the home of Jeong Hyun-jung (keyboard). Hyeonjeong shows a marriage/prediction relationship that does not suit her, while at the same time reproducing the scenery of the house as an oppressive space. Cruise’s third journey takes place at the house of “Daeyong (Drum).” Dae-yong, who lives in a newly built apartment, calls a house suffering from interest, including principal, a “prison” in return and expresses his painful inner feelings. Cruise’s fourth journey takes place at the home of “Kim Rok-i (vocal).” His proposal to get married first shows the identity of a smile that lives a taste-oriented life rather than a stable life, while also providing an oppressive experience of being locked up like a prison. The fifth journey takes place at the house of ‘Choi Jeong-mi (Other)’ Jeong-mi, who justifies her life as a full-time housewife in a mansion given by her parents-in-law as a religious “performance,” shows an inherent division in which she adapts to the mansion and suppresses herself even though it is not her taste. The spatial movement of Miso, escaping from the journey of living like others while adhering to one’s three tastes - cigarettes, whiskey, and Hansol - is also the process of creating ‘becoming oneself’ as a minority of Miso, moving backward from living like others. In that context, the disposition of Miso’s taste that leads this text, the rearrangement of taste due to the process of parting with Hansol, one of them, and the process of de-territorialization through more independent escape lead to the house and house where the problem emerged as a social problem along with the MZ generation theory. It also symbolically shows the disintegration of the existing stable virtue of marriage.

중독관리센터의 경제적 효과에 대한 체계적 고찰

한은아 ( Eunah Han ),황현아 ( Hyuna Hwang ),유지나 ( Gina Yu ),고동률 ( Dong Ryul Ko ),공태영 ( Taeyoung Kong ),유제성 ( Je Sung You ),좌민홍 ( Minhong Choa ),정성필 ( Sung Phil Chung ) 대한임상독성학회 2021 대한임상독성학회지 Vol.19 No.1

Purpose: The purpose of this study was to conduct a systematic review to investigate the socio-economic benefits of the poison control center (PCC) and to assess whether telephone counseling at the poison control center affects the frequency of emergency room visits, hospitalization, and length of stay of patients with acute poisoning. Methods: The authors conducted a medical literature search of the PubMed, EMBASE, and Cochrane Library databases. Two reviewers evaluated the abstracts for eligibility, extracted the data, and assessed the study quality using a standardized tool. Key results such as the cost-benefit ratio, hospital stay days, unnecessary emergency room visits or hospitalizations, and reduced hospital charges were extracted from the studies. When meta-analysis was possible, it was performed using RevMan software (RevMan version 5.4). Results: Among 299 non-duplicated studies, 19 were relevant to the study questions. The cost-benefit ratios of PCC showed a wide range from 0.76 to 36 (average 6.8) according to the level of the medical expense of each country and whether the study included intentional poisoning. PCC reduced unnecessary visits to healthcare facilities. PCC consultation shortened the length of hospital stay by 1.82 (95% CI, 1.07-2.57) days. Conclusion: The systematic review and meta-analysis support the hypothesis that the PCC operation is cost-beneficial. However, when implementing the PCC concept in Korea in the future, it is necessary to prepare an institutional framework to ensure a cost-effective model.