일반논문 : 외상의 (탈)역전이 서사 -한강의 ≪채식주의자≫ 연작에 관하여-

한귀은 ( Gwi Eun Han ) 배달말학회 2008 배달말 Vol.43 No.-

대화로서의 영화인문학

한귀은(Han, Gwi-eun) 한국어문학회 2016 語文學 Vol.0 No.131

The film makes us reflect our life and relationship. The movies created by Hong Sang-Su(홍상수) causes the questions and inner conversations about everyday life. In particular, Right Now, Wrong Then(〈지금은맞고그때는틀리다〉) presents a series of humanistic questions more actively than in previous films. After watching this movie, the audience would ask questions about the ethics, friendship, snobbism, and recognition struggle. These are important humanistic theses in our age. There are cinematic elements that catalyze these theses. The first is the structure of the repetition and difference. Several events and camera-working are repeated in the his film. But the repetition is repeated with a difference. So is Right Now, Wrong Then. This film consists of part 1 and part 2. Part 1 is Right Then, Wrong Now (‘그때는맞고지금은틀리다’), and part 2 is Right Now, Wrong Then(‘지금은맞고그때는틀리다’). Because of repetition and difference of this film, we think deeply about the reasons. Self-reflexivity is also the factor to trigger the thoughts of audience. Hong Sang-Soo is a Auteurism director, so he has unique styles in films. He mainly uses long take, zoom in, and zoom out, not dividing the cuts. He scarcely ever shoot close-up, point of view shot. He observes and discovers the events and characters. That is the realism of Hong Sang Soo. Through this way of shooting and editing, we could have the time to reflect our lives without romanticizing while watching his movie.

영화를 보기를 통한 윤리적 주체로서의 글쓰기 교육

한귀은(Han, Gwi-Eun) 한국어문학회 2014 語文學 Vol.0 No.126

A Film is a polysemous text. We can read a film multifariously. It is socalled Rashomon Effect. So we can be ethical subjects through watching a good film. After watching a film, we can not interpret or understand a film’s meaning. Only we can question about a film. The better film, the deeper question. It is because there is alterity in a film. We can experience alterity through a good film, and be ethical subjects. Gyeongju is a good multifariously film. This film is ended with being unsolved. We can approach the characters cautiously. The film arouses moral imagination. By watching the film, questioning and writing about the film’s meaning, the student can be a ethical subject.

문학콘텍스트와 (탈)교육

한귀은 ( Gwi Eun Han ) 한국문학교육학회 2007 문학교육학 Vol.23 No.-

애도를 위한 문학치료의 가능성과 불가능성

한귀은(Han Gwi-eun) 한국어문학회 2010 語文學 Vol.0 No.110

This paper tries to show that the literary therapy has both possibility and impossibility. We cannot cure all the mental illness but only heal the patients who are able to read a book voluntarily by the literary therapy. It is the developmental therapy not clinical therapy provided in this paper. This paper interrogates into a connection between mourning and literary therapy. Especially, the novel’s narrative deal with the question of the loss, lack, and melancholia. Freud argues the relation of melancholia and mourning. He says the lack of mourning is equal to melancholia. But gradually Freud insists that the ego is fundamentally a melancholic ego. Namely, the ego is sediment of loss and lack. Nietzsche and Deleuze give us an insight for the health and illness. In their sense, the health is not a certain or uniform condition but a course balancing ourselves in life. And being in good health means the possibility of getting hurt. So, according to these viewpoints, the good health is not in an absolute condition without illness or wound. And the perfect mourning is impossible, simply we may aim for mourning constantly. The novel “The Spacial Criteria Selecting Love” written by Hyung-Gyung Kim has an aspect that makes readers who are feeling a sense of loss consoled by identifying with the novel’s characters. In this novel, the main characters heal little by little through melancholic incorporation not the complete conclusion of mourning. This paper proves the (im)possibility of literary therapy through experiment of a female reader(or counselee).

영화를 경유하는 논술 교육

한귀은 ( Gwi Eun Han ) 배달말학회 2007 배달말 Vol.41 No.-

순수욕망을 향한 여정, 영화 <후쿠오카>

한귀은(Han, Gwi-Eun) 한국문학회 2020 韓國文學論叢 Vol.86 No.-

장률의 영화 <경주>, <군산: 거위를 노래하다>, <후쿠오카>는 결핍의 주체 멜랑콜리커가 주인공이다. 이들이 욕망하거나 상실한 대상은 불분명하다. 그러나 그들은 그 대상을 찾는 과정에서 우정과 연대를 경험한다. 특히 <후쿠오카>에서 상실한 대상인 ‘순이’는 욕망의 대상이라기 보다는 욕망의 원인인 ‘대상a’이다. 순이는 그 기의 때문이 아니라 텅 빈 기표 그 자체로 제문과 해효에게 대상a가 된다. 그들은 대상a로 인해 상실과 고통을 향유하는 주이상스를 겪게 되지만 또 그 때문에 소담과 우정의 관계를 맺게 된다. 제문과 해효, 소담은 대상a의 환유적 장소에 머무는 디아스포라이다. 그들이 실재계적인 순간에 마주치게 되는 것도 상실한 대상에 대한 끊임없는 결핍감 때문이다. 실재계는 재현될 수 없고, 언어로도 포착되지 않으며, 환상으로 접근할 수 있을 뿐이다. <후쿠오카>는 핸드헬딩의 비인칭 시점의 카메라와 미장아빔 구조를 통해 실재계의 징후를 암시한다. 비인칭 시점의 카메라는 익명적 쇼트를 구성하면서, 마치 상징계의 틈으로 드러난 실재계를 보여주는 듯한 장면을 연출해낸다. <후쿠오카>의 주요인물들과 사물은 틈이나 구멍을 통해 보여질 때가 많다. 누구의 시점인지 확인하기 어려운 비인칭의 응시는 유령이 출몰하는 듯한 분위기를 조성한다. 이런 분위기 속에서 현실과 꿈과 실재가 뒤섞이는데, 그 경계를 구분하기 어렵다. 미장아빔 구조는 그 구별 자체가 무화되는 지점에서 의미를 띠며 다수의 장면들이 서로 반향된다. 이런 경계의 해체는 외화면과 내화면의 절합 몽타주를 통해 더 강화된다. 제문, 해효, 소담은 상징계의 질서 속에 적당히 편입되지 못한 주체이다. 이들은 결핍감 속에서 실재계의 징후를 감지하며 살아간다. 이것은 라캉이 말한 윤리와 접목된다. 윤리적 욕망은 현실과 상징계에 근거한, 쾌락과 연동되는 타자의 욕망을 욕망하는 것이 아니라 현실 혹은 상징계에서 벗어나 존재의 결여를 긍정하는 순수욕망이다. 실재계로 향하는 여정에 순수욕망이 발생하고, 이런 순수욕망을 지향하는 태도가 존재 회복에 이르게 하는 윤리인 것이다. <후쿠오카>는 이러한 순수욕망의 윤리를 비인칭 시점의 카메라와 미장아빔 구조를 통해 이야기하고 있는 것이다. 관객의 봉합작용을 차단하면서 이 시대의 욕망과 상실, 향유에 관해 사유하게 만든다는 점에서 <후쿠오카>의 동시대성을 논할 수 있다. The main characters are melancholikers, the subject of lack in Zhang Lu s films <Gyeongju>, <Ode to the Goose>, and <Fukuoka>. What they desire or lose is unclear. However, they experience friendship and solidarity in the process of finding the object. In particular, ‘Sooni(순이)’, ‘the object lost’ in the film <Fukuoka>, is not the object of desire, but rather ‘objet a(objet petit a)’, which is the cause of desire. Sooni becomes ‘objet a’ to Jemoon(제문) and Haehyo(해효), not because of that signifier, but by the empty signifier itself. They suffer from loss and pain due to ‘objct a’, but also form a friendship with Sodam(소담). Jemun, Haehyo, and Sodam are diaspora that stay in the metonymic place of ‘objet a’. What they encounter in the Real moments is due to their constant lack of lost object. ‘The Real’ cannot be represented, it is not captured in language, it is only accessible as an illusion. <Fukuoka> implies signs of the Real through a handhelding camera of a non-personal perspective and a mise en abyme structure. The camera of a non-person perspective creates an anonymous shot, creating a scene as if showing the Real revealed through a gap in ‘the Symbolic’. The main characters and objects in <Fukuoka> are often seen through gaps or holes. The non-personal gaze, where it is difficult to determine whose point of view, creates an atmosphere of haunting ghosts. In this atmosphere, reality, dream, and the Real are mixed, and it is difficult to distinguish the boundaries. A mise en abyme structure takes on meaning at the point where the distinction itself becomes atomized, and a number of scenes echo each other. The deconstruction of these boundaries is further strengthened through the articulation montage of off-screen and on-screen. Jemun, Haehyo, and Sodam are subjects that have not been properly incorporated into the system of the Symbolic. They live by sensing the signs of the Real in a sense of lack. This is combined with the ethics that Lacan said. Ethical desire is not a desire of others, based on reality and the Symbolic linked to pleasure, but a pure desire that affirms the lack of existence out of reality or the Symbolic. Pure desire arises on the journey to the Real, and this attitude toward pure desire is an ethic that leads to the restoration of existence. <Fukuoka> talks about the ethics of pure desire through a camera of a non-personal perspective and a mise en abyme structure. It is possible to discuss the contemporaneity of <Fukuoka> in that it blocks the audience s suturing and makes them think about the desire, loss and enjoyment of this era.

시와 영상의 통합적 표현 교육

한귀은(Han Gwi-Eun) 국어국문학회 2006 국어국문학 Vol.- No.143

Recently, the education of image and visual text has been regarded very importantly. Especially the education of producing visual text has been appreciated newly in Korean language education. So, we must distinguish visual education in Korean language education realm from that of film education realm. The visual education in Korean language education must be intended to improve culture literacy of students. We must free ourselves from compulsion of image production technology. And we have to use literary contents accumulated on Korean language education. Great literary writings and visual works could be educative material to improve culture literacy of students. This thesis presents the method of integrated education of poetry and image. As a result, no matter what there is technical limit, but the images made by students have critical mind and the thoughtful consideration about mise-en-scene, montage, music effect, and so on. First, in the adaption for a visual text from a poem, students understood and felt the paradox on the poem. So the paradox was in the visual text made by students, too. And the visual text had a narrative independently of the poem. Second, in the adaption for a poem from a visual text, students recognized the effect of a narrator. If a narrator were not a man but a animal, the gazing on the object is different. This brings a matter of all over the narrative. Students adapted considering the narrator’s trait. Most of all, the integrated education of poetry and image must make steady progress toward improvement of both poetic imagination and visual imagination. The integrated activity of literature and image could be effective project to raise the ability of cultural and multi-literacy.

단편영화 교육의 의의와 방안

한귀은 ( Gwi Eun Han ) 한국어교육학회 2007 국어교육 Vol.0 No.124

서사적 담화 수행을 위한 교수 - 학습 모형 개발

한귀은(Gwi Eun Han) 한국어교육학회 2001 국어교육 Vol.- No.106