바이마르 시기 독일 좌파의 영화 활동

조원옥(Cho Won-Ok) 효원사학회 2005 역사와 세계 Vol.- No.28·29

영화로 불러낸 기억의 변화, 홀로코스트 영화

조원옥 ( Won Ok Cho ) 대구사학회 2008 대구사학 Vol.90 No.-

포스트모던 문화 연구에서 역사성 모색하기 : 프레드릭 제임슨의 변증법적 텍스트 이해

조원옥(Cho Won-Ok) 효원사학회 2011 역사와 세계 Vol.- No.39

Unlike other Marxist critics, Fredric Jameson has set forth the criticism which approves the postmodernism positively as dialectical method toward totality. Moreover he maintains that his own criticism is the logical result of his previous work. Like postmodernists’ claims, Jameson asserts that we can reach the ‘History’, or ‘the Real’ only through ‘histories’. From 1980’s on, he has dived into the dispute over postmodernism. He diagnoses the postmodernism as the cultural logic of late capitalism and as the concept of a period, not a style. The postmodernism is characterized by forgetfulness of History. So he uses the idea of ‘political unconscious’ groping for Historicity or totality in the postmodern culture. For him, the film among mass media is the most proper text which we can find out the political unconscious of mass media of late capitalism. In his book The Political Unconscious, Jameson groped for totality in the postmodern culture using the idea of “cognitive mapping.” As he used the concept “thought to the second power” in Marxism and Form, he asserted the slogan “Always historicize!” for the marxist dialectical method in The Political Unconscious. After then, he has extended his discourse to the third world cinema. In Geopolitical Aesthetic, he uses the idea of “national allegory” to assert that the essence of the late capitalism has been characterized in cinema and space of third world. Because “die Gleichzeitigkeit des ungleichzeitigen” is apparent in third world cinema. In short, according to Fredric Jameson, the postmodernism is the cultural logic of the late capitalism which is more modern than the modern times. And it is this episteme that Fredric Jameson attains over the period of late capitalism.

미학의 옷을 입은 프로파간다 영화의 힘

조원옥(Cho, Won-Ok) 효원사학회 2012 역사와 세계 Vol.- No.42

This article interrogates the political power of the film by analysing Leni Riefenstahl"s Olympia (1938). Olympia, the documentary film in which put Berlin Olympic of 1936, has been paid great compliments of German and World commentators and people due to its high artistry. And so, it have gained appraisals as the unpolitical art film that held on to the fairness corresponding to the spirit of Olympic. In this respect, it has compared with her previous work, the Triumph of the Will(1935), condemned to be political for treating the national convention of Nazis. However, Berlin Olympic of 1936 was the most political in the history of modern Olympic. The Third Reich intended successfully to make use of Olympic as a political instrument. Riefenstahl actualized this intention of Nazis by making Olympia. In virtue of this film, Berlin Olympic could have been viewed to be unpolitical for a while without some doubts. Olympia was the film produced officially by Nazis that designed to embellish this political event into the unpolitical. This film was supported and benefited by Nazis from its planning stage to its making, advertisement, and distribution. In those days when was the dark age for German cineaste, Leni Riefenstahl was almost the only one beneficiary of the Third Reich. After the World War Ⅱ, Riefenstahl had been on trial for being a movie baron of the Third Reich. In spite of controversies, she was finally granted the social pardon. She had conducted unceasingly her career as movie artist, and claimed the copyrights of her works. The people and critics did not deem her works as the vestiges of the Third Reich, and guaranteed her works to be an art. This poses the problem of art and ethics. It means that ‘lust" and ‘caution" can not be simply distinguished in dichotomous way. We are used to unconsciously yield to temptation that wish leave the ethics behind the art. But Olympia shows well the inconvenient truth that the art never can be righteous in itself.

바이마르 공화국 시기(1918-1933) 상업영화의 정치적 성격

조원옥(Cho Won-Ok) 부산경남사학회 2006 역사와 경계 Vol.58 No.-

As the Weimar Republic had passed by, the films had been entrenched firmly as an art and institution. From the First World War on, the film industry of Germany had developed greatly to raise as a main state-industry. The gay cinemas were built up everywhere in the cities, and the masses were driven into them. Viewing of films offered a consolation and relaxation for the next day's labour at that time. The masses' enthusiasm for films led to the controversies over the political influences or qualities of films. As a result, many political, economic, and religious groups had begaun to take notice of films.<br/> The feature films which had gained successes commercially did not openly displayed out the political qualities. These films, however, showed distinctly the uncertainty and fear, the hard activities and mass fantasies, and the political disturbances and economic polarization in the Weimar society. In fact, the class realities of the Weimar society were reflected on the labour and lower middle classes' cheers and the films which described unreally the society. Therefore the diverse and covert political reckonings and maneuvers were tried out around the film industry to make these classes stable and passive through entertainments. In conclusion, these features of the Weimar film industry demonstrated in some ways a ‘silent propaganda’ that penetrates unconsciously into masses' mentality and exercises the ideological effects on them.

객관을 담은 예술 혹은 선동을 품은 정치

조원옥(Cho Won-Ok) 부산경남사학회 2010 역사와 경계 Vol.74 No.-

Triumph of the Will is the film that was directed by Leni Riefenstahl in 1934, and the documentary which she has asserted to be ‘a record of the fact’ as it was, or the ‘cinema verite'. In this respect, she has consistently contended that her film was apolitical one. And it even has been granted the title of masterpiece by those who has insisted upon its formal beauty regardless of its content. Nevertheless, its content are remarkably subjective and political for it recorded the NSDAP Party Rally at Nuremberg in 1934. Even its form become a device for support of content's politics since it contains a very political event, though it take the objective appearance. Riefenstahl had lived on through the most political times of German history. To take into consideration that many of German film-makers were forced to receive the restriction on free activities at that time, the working settings that she had enjoyed were in themselves a privilege. Since the fall of Nazi, she has made a ceaseless effort to erase the shadow of Nazi from her career as a film-maker. She has sought to get rid of her film's political implications, highlighting the documentary form of Triumph of the Will. However, both Riefenstahl's career as a film-maker and her life illustrate well that such a premise which can distinguish between the form and content in art is a political posture in itself.

지적장애아를 둔 어머니의 양육 경험 및 삶의 질에 대한 질적 연구

서명옥 ( Myoung Ok Seo ),조원일 ( Won Il Cho ) 한국특수아동학회 2008 특수아동교육연구 Vol.10 No.3

Maleic anhydride -2- Vinylnaphthalene 과 EPDM 으로 된 새로운 엔지니어링 플라스틱의 합성과 물성

박덕제(Duck Jei Park),배영옥(Young Ok Bae),하창식(Chang Sik Ha),김병규(Byung Kyu Kim),조원제(Won Jei Cho) 한국고분자학회 1992 폴리머 Vol.16 No.2

[논문] '거리영화(Straßenfilme)'에 재현된 바이마르 사회와 여성의 이미지

조원옥 부산대학교 인문학연구소 2011 코기토 Vol.- No.69

The main stream cinemas of Weimar Germany did function mostly as a kind of drug which was a solution to the middle and lower middle classes’ insecurities and horrors of proletarianization, making them give in authorities, inciting them to believe the myth of possibility of upward social mobility, and getting them to lose sight of actual difficulties for a while. For those who wished to look away from the social conflicts, a cinema palace was a place where “a kind of social romance would be realized.” In this respect, the main stream cinemas captured precisely the social mentality of these classes, and the same was true of the ‘Street film’. Consequently, the masses’ enthusiasm had produced the backward results which tied up the disillusions and actions of these classes who were the main film-goers. When looking through the mirror of ‘Street film’, it is obvious that the modern experiences of Weimar period failed to change effectively and radically the attitudes and lives of most women. In many films, the patriarchal structure had been still solid, though men of middle classes were depicted to degenerate economically and lose their authorities. Women were depicted not to gain the opportunities of emancipation. Women went out of house to the street following temptations and stimuli, but it was the dangerous and ruined place and the results of these actions were so cruel. Thus, the film-goers reconfirmed the patriarchal morality and pledged to protect their homes, getting out of cinema palace after viewing of these films. As if the promises of sexual and economical emancipations lastly proved to be failed in Weimar society, the melodramas including ‘Street film’ resulted finally in the conservative conclusions, though they commerced to tell the radical contradictions of women’s life. 바이마르 공화국 시기 주류 영화들은 대체로 중간계급과 하층 중간 계급의 불안과 프롤레타리아화의 두려움에 대한 해결책으로, 권위에 굴복하거나 사회적 계층 상승 가능성의 신화를 부추기거나 현실의 어려움을 잠시 잊게 해주는 일종의 마취제였다. 사회적 대립을 회피하고 싶어 했던 이들에게 영화관이 “일종의 사회적 낭만이 성취되는 곳”이었던 셈이다. 그런 의미에서 주류영화들은 이들 소시민 계층의 사회 심리를 제대로 읽고 있었다. 본 논문에서 다루는 ‘거리영화’라는 멜로드라마도 그런 흐름에서 크게 벗어나지 않았다. 거리영화라는 거울로 볼 때 바이마르 시기 근대의 경험이 ‘신여성’으로 상징되는 이 시기 여성들 대다수의 태도와 삶을 실질적이고 혁명적으로 바꾸지 못한 것은 분명하다. 여러 편의 거리영화에서 중간계급 남성이 경제적으로 몰락하여 권위를 잃고 거리를 헤매는 걸로 그려지고 있기는 하다. 그럼에도 바이마르 사회에서 가부장적 권력 구조는 여전히 건재했으며, 대다수 여성들에게 평등과 해방은 요원한 꿈이었을 뿐이다. 반면 이들 영화에서 남성이 유혹과 자극을 찾아 나선 거리는 위험 하고 타락한 곳이며 그 일탈의 대가는 참혹하다. 여기서 전형적인 여성이란 이들 남성을 타락의 끝으로 몰고 가는 팜므 파탈이거나 이들 남성이 돌아간 가정에서 볼 수 있는 정숙한 여인으로 양분될 뿐 중간지대는 없다. 따라서 영화를 본 관객들은 잠깐의 대리 만족 뒤에 극장문을 나서며 마음속으로 자신은 거리로 내몰리지 않아야겠다고 당대의 윤리를 의식에 재무장하고 가정을 지키리라 다짐하게 된다. 바이마르 여성들에게 사회적 신분을 높일 수 있는 가능성 그리고 독립과 해방이란 영화에서나 맛보기로 시식 가능한 산해의 진미일 뿐 여전히 닫힌 문 너머에 있었다. 거리영화를 비롯한 멜로드라마들이 여성들의 삶에 존재하는 근본적인 모순들에 대해 이야기하기 시작했지만 결말은 결국 보수적으로 귀결됐다. 바이마르 사회에서 성적 해방과 경제적 해방의 약속이 결국 실패로 드러났듯이.