『서울 1964년 겨울』에 나타나는 동시적 구성 방식 연구

한영현(Han Young-Hyun) 돈암어문학회 2005 돈암어문학 Vol.- No.18

The purpose of this study is to understand the meaning of “Seoul, 1964 winter” by Kim Seung-Ok using the analysis tool of concurrent composition method.<br/> This work shows the isolation and communication gap between people through arranging concurrent scenes.<br/> First of all, the conversation between I and Mr. Ahn shows that they are isolated from each other and depressed as well. Secondly, the guy's narrative and the ruptured behaviors of I and Mr.Ahn reveal isolated relations and fragmented bond of each other. Lastly, the concurrent composition of individual and space plays a crucial role in reflecting the desolate emotion of individual in the 1960's by showing a sense of alienation and a dreary sight. These three kinds of concurrent composition method contribute to indicate and the vague fear for future and the fragmented life of people living in modernizing korean society. Kim Seung-Ok has captured this theme of work through his original sensitive insight about 1960's. the concurrent composition method catches a glimpse of the theme of work in terms of plot.

문예 영화에 나타난 육체 표상과 서울의 물질성

한영현(Han Young-Hyun) 돈암어문학회 2009 돈암어문학 Vol.- No.22

이 글은 1956년에 상영된 영화 〈자유부인〉을 분석하면서 영화 속에 나타난 육체적 표상과 공간의 상호 관련성을 중심으로 1950년대 중반의 서울이라는 도시의 근대적 형상과 그것이 각인된 육체를 관련시키는 방식으로 논의를 전개한다. 1950년대 당시의 서울은 서구적 근대성을 보여주는 대표적인 공간으로 작용하고 있다. 그리고 영화 〈자유부인〉에 나타나 있는 선영을 비롯한 영화 속의 인물들은 바로 이러한 서울의 공간성을 몸을 통해 구현한다. 특히, 오선영과 최윤주는 서구적인 근대적 문물을 체현하는 존재로서 등장하면서 파리 양장점과 댄스홀을 중심으로 하여 서울의 번잡하고 서구화된 공간을 대변하는 인물로 등장한다. 한편 선영의 남편 장태연 교수와 박은미로 대표되는 서울의 전근대적 공간은 두 사람의 낭만적인 사랑과 더불어 공간화됨으로써 서울이 지니고 있던 1950년대 당시 공간이 육체로 의미화되는 방식을 보여준다. 특히 〈자유부인〉을 둘러싸고 벌어진 검열 논란은 영화 속의 표현의 수위 문제로 떠오르면서 영화가 지니고 있는 육체의 전시 그리고 가시화된 육체가 대중들에게 미칠 수 있는 영향력을 보여준다고 할 수 있다. 결과적으로 영화 속에 드러나는 육체적 표상은 그 공간의 변화에 따라 계속적으로 구성되면서 새롭게 의미화되고 이것은 그것을 향유하는 대중들에 대한 파급력과 밀접한 관련을 맺는다고 할 수 있겠다. This article develops its discussion in a way to relate the modem figures of the city of Seoul in the mid-1950's with the body that engraves it while it analyzes the film, 〈liberal Wife〉, screened in 1956 focusing on the mutual relativity between the body represented in the movie and the space. Seoul in the time of 1950's functions as a representative space that exhibits westernized modernity. And the characters of the movie, 〈liberal Wife〉, including Sun Yeong materialize the spatiality of Seoul with their body. In particular, Oh Sun Yeong and Choi Yun Ju appear as beings that embody westernized modern culture and represent the crowded and westernized space of Seoul centering around Paris couture houses and dance halls. Meanwhile, the pre-modem space of Seoul represented by Sun Yeong's husband, professor Jang Tae Yeon, and Park Eun Mi shows how the space of Seoul in the 1950's becomes meaningful through body as it is spatialized along with the romantic love between the two. In particular, as the controversial censorship conducted to 〈liberal Wife〉 rose as an issue related with the degree of expression in the movie, it shows how influential the physical exhibition and visualized body in a film can be to the public. In conclusion, as the physical representation exposed in a movie is continuously constructed with the change of the space and becomes meaningful in a new way, this comes to be closely associated with a ripple effect upon the public that enjoys it.

한국 재가노인복지서비스의 개선에 관한 연구

한영현(Han, Young Hyun) 한국지역사회복지학회 2002 한국지역사회복지학 Vol.11 No.-

1. 기획논문: "한국영화 7선" 2015년 한국영화를 말하다 : "지식,권력,존재"의 역사적비화(悲話): 영화 < 사도 >

한영현 ( Young Hyun Han ) 한양대학교 현대영화연구소 2016 현대영화연구 Vol.12 No.1

이 글에서는 영화 < 사도 >를 ‘지식-권력-존재’의 관계 속에서 고찰한다. 영화 < 사도 >는 사도 세자의 죽음을 중심 서사로 놓고 그의 삶과 죽음에 얽힌비화를 재현한다. 따라서 이 글에서는 영조와 사도의 관계에서 갈등과 긴장의 핵심이라고 할 수 있는 왕의 권력과 그 권력 유지의 수단으로 제시된 지식의 문제에 초점을 맞춰 사도의 죽음이 권력과 지식에 대한 저항과 거부에서 비롯된 것으로 분석한다. 우선, 영조의 지식과 권력은 삶과 죽음의 경계를 가로지르는 중요한 매개체임을 제시한다. 사도는 이러한 왕가의 법도와 윤리를 거부하는 방법으로서 죽음의 과저에서 자신의 ‘몸’으로 존재를 드러낸다. ‘권력-지식’에 대한 저항으로서의 ‘몸’이 사도의 ‘죽음’ 과정에서 표현되는 것이다. 한편, 영화에서 재현되는 현재와 과거의 시간 교차는 왕가의 오랜 역사에 균열을 가하는 방식으로 제시되며, 뒤주는 왕가의 권력과 권위에 균열을 가하는 죽음의 존재로서 등장한다. 마지막으로 영조와 정조, 사도는 ‘죽음’과 ‘권력-지식’ 사이에서 부유하는 존재들로서 이러한 ‘영원한 죽음’을 간직한 존재들의 형상화가 영화의 비극성을 한층 고양시킨다. 요컨대 영화 < 사도 >는 권력과 지식 그리고 존재의 관계를 사극의 형식을 빌어 세밀하게 구현한 작품이라고 할 수 있을 것이다. This study explores the film The Throne in the relationship among ‘knowledge, power and existence.’ With the Crown Prince Sado (思悼世子) as its central narrative, the film The Throne reproduces tragic stories surrounding his life and death. Thus, focusing on the problem of King’s power which was the core of conflict and tension in the relationship between King Youngjo (英 祖) and Crown Prince Sado and on the problem of knowledge suggested as the means to maintain the power, this study analyzes that the death of Crown Prince Sado was caused by his resistance and refusal of power and knowledge. First, this study suggests that King Youngjo’s knowledge and power was the important media which cross the boundary between life and death. As a means to refuse the custom and ethics of the Royal Family, Crown Prince Sado exposes his existence with his own’body’ in the process of his death. That is,’body’ as the resistance against’power and knowledge’ is expressed in the process of Sado’s’death.’ Meanwhile, crossing of the past and the present reproduced in the film is presented in the manner to impose fissure on the long history of Royal Family while the wooden grain chest appears as symbol of death which imposes fissure on the power and authority of the Royal Family. Lastly, King Youngjo, King Jungjo (正祖) and Crown Prince Sado are all existences floating among’death’,’power’ and’knowledge’ and embodiment of these existences who kept such’eternal death’ further boosts the tragic nature of the film. In sum, film’The Throne’ is a work which meticulously reproduces the relationship among power, knowledge and existence in the form of historical drama.

1980년대 초중반 한국 영화의 도시 공간 분석

한영현(Han, Young Hyun) 동국대학교 영상미디어센터 2016 씨네포럼 Vol.0 No.24

본 고는 전두환 정권의 정책 변화 속에서 한국 영화의 ‘도시 공간’ 분석을 시도했다. 도시 공간 분석은 ‘농촌’에서 ‘도시’로 밀려든 도시 하위 주체들의 삶과 연루되어 ‘도시화’와 ‘도시 빈민’, 이에 얽힌 당대 도시적 삶의 일단을 문화적으로 가늠하는 기준이 될 뿐만 아니라, 영화가 보여 주는 대중 문화적 역할과 의미를 탐색하는 방법이 된다. 한국영화에서 재현된 도시 공간은 권력의 상징물로 표현된다. 한편, 도시공간 공간을 점유한 하위 주체들은 당대의 근대화와 도시화의 표상으로 등극한 아파트와 화려한 도시 풍경, 철골이나 강철 이미지를 내파하는 중요한 주체로서 재현된다. 또한 1980년대 한국 영화의 ‘도시 공간’은 정권의 개발 신화를 손쉽게 승인하거나 적극적으로 수용하는 양상을 띠지 않는다. ‘권력’의 상징적 대체물로 기능하는 ‘도시’ 공간은 화려한 이면에 도사리고 있는 빈민촌이나 창녀촌 등을 점거하고 있는 비천한 타자들로 오염된 허위의 장소로 치환된다. 이러한 도시 공간의 재현은 전두환 정권이 표방했던 개발 신화의 허위성을 드러내는 대중 문화적 방식으로 의미화될 수 있다. 이러한 연장선상에서 도시 공간이 내포하고 있는 부조리는 ‘성’과 ‘자본’의 결탁 관계 속에서도 발생한다. 1980년대 한국 영화는 도시로 이주했지만, 자신만의 공간을 제대로 확보하지 못한 비천한 하위 주체들이 ‘육체’를 매개로 하여 ‘거리’의 상품으로 전락하는 과정을 보여 준다. 도시로 이주한 가난한 시골출신의 도시 빈민들은 안정된 거점을 마련하기 위해 자신의 육체를 상품으로 치환한다. 영화에 재현된 창녀촌이나 빈민촌 등은 이러한 ‘성’과 ‘자본’으로 점철된 도시 공간의 대표적인 장소들이다. 도시로 이주한 비천한 타자들이 ‘육체’를 거래로 ‘도시’의 ‘거점’을 확보하고자 하지만, 결과적으로 ‘죽음’을 통해 도시 밖으로 밀려날 수밖에 없는 과정은 당대 ‘도시’를 겉은 화려하지만 실제로는 추함을 내포한 디스토피아로 규정하는 과정이기도 하다. ‘도시 공간’에 대한 분석은 당대 영화를 개발 신화와 중산층 판타지의 부조리를 파헤치는 중요한 텍스트로서 자리매김하고, 그동안 제대로 조명받지 못한 여타 다양한 작품들을 새롭게 재평가해야 할 과제를 던져 준다. The study aimed to analyze ‘urban space’ in South Korean movies in the political change of the Chun Doo-hwan government. Analysis on urban space can be a criterion to evaluate the life of the urban poor who moved from ‘agricultural villages’ to ‘cities,’ ‘urbanization,’ ‘the urban poor’, and the urban life of the time in a cultural way. Moreover, it can explore the public cultural role and meaning of movies. Cities described in Korean movies symbolize power. Meanwhile, subordinate subjects occupying urban space are recreated as significant subjects that imply apartments that symbolize modernization and urbanization back then, splendid city sceneries and image of iron and steel. Furthermore, urban space’ does not accept the developmental myth of political power easily or actively in South Korean movies in the 1980s. Acting as a symbolic substitute of ‘power,’ ‘urban’ space is substituted for false space that is contaminated by humble others who occupy poor villages or red-light districts laying behind the glittering facade. Reproduction of such urban space can be signified in public cultural way that exposes the falsity of development myth that the Chun Doo-hwan government claimed to stand for. On an extension of this, the irrationality of urban space occurs in the colluding relationship between ‘sex’ and ‘capital’ as well. Korean movies in the 1980s showed that humble subordinate subjects who had moved to a city but could not secure their own space ended up becoming products on the ‘street’ through the medium of ‘body.’ The urban poor moved from the countrysides turn their body into products so as to secure a stable foothold. Poor villages or red-light districts reproduced in the movies are representative urban places tainted by ‘sex’ and ‘capital.’ The humble others moved to a city try to gain ‘a foothold’ of the ‘city’ by selling their ‘bodies,’ but they end up meeting their ‘death’ and being out of the city; This is also the process of defining the ‘city’ of the time as a dystopia that is colorful outside but ugly inside. An analysis on ‘urban space’ becomes a critical text to investigate the developmental myths of movies of the time and the irrationality of middle-class fantasy, and creates challenges to re-evaluate various movies that have not been spotlighted properly.

동아시아 영화의 다양한 양상들 첸카이거 영화의 시간과 역사 -1980~90년대 영화를 중심으로-

한영현 ( Young Hyun Han ) 한양대학교 현대영화연구소 2011 현대영화연구 Vol.7 No.2

This thesis aims at discussing the time and history of movie in 1980s-90s of Chen Kiger. For this, this researcher tries to borrow the theory of time-image of Dloiz. According to Dloiz, in case of modern movie, narrative on continuous line and unnarrative image to cause collision and severance are showing together. And, at this time, unnarrative image makes spectator be led into speculation that unnarrative image recalls, severing continuity on narrative. And, in this unnarrative image, past which enabled present and future times to be able to forecast through present show by being reiterated. And, spectator gets to rethink the meaning of movie whole through new time experience to be unable to experience in narrative on continuous line. This theory is closely related to feature which showed in the movie in 1980s-90s. In the movie in 1980s, historical questions such as Chinese feudal convention and education of cultural revolution period etc. are being laid in one side of narration. But, un-civilized elements to sever its narrative flow lead discernment for his-tory, while they reappear frequently as image. This movie style of Chenkiger come in contact with the situation in 1980s which had to make historical reshuffle newly after culture revolution. Movie after 1990s also, this narrative flow and the presentation of image to sever the vein are made. But, Chinese civilization which filled narrative image let seer experience time which have wide knowledge and fixed time excessively. In addition, historical question to be the frame of narra-tion brings about degeneration to movie style that Chen Kiger aimed, by bing mixed with this unnarrative element or beign subsided. This has relation with the internal and external situation of China which changed after 1990s. And, it can be said that Chen Kiger shows the traces that he was in agony in finding his own real form nature of movie in this course.

한국 농촌여성의 농업노동자로서의 역할증가와 그에 따른 문제점

한영현 광주보건대학 1996 論文集 Vol.21 No.-

Since the mid 1960s in Korea, rural population has been decreasing and the labor shortage in agricultural sectors occured, which introduced woman workforce into the farm production in large quantities. Under such a situation, rural woman was driven to act two roles: traditional housekeeper and agricultural worker for family farm. Rural woman in Korea has two-fold difficulties, one as farmer belonging to the lowest social class in Korean society and the other as woman farmer under the remaining cultural tradition oppressing woman in rural communities. The status of rural woman, particularly woman farmers, is mixture of the mode of farm productions of the small farm in the monopoly capitalism and the cultural backgrounds subjecting woman. Rural women have been suffering from their low status both at home and in rural community. In fact most of rural women in Korea have been working hard in the farm land just like their husbands. But most of the government policies for rural women are set in the assumption that rural women are mostly the housewives of farm households. The government policies have to be oriented to improve the machinery for woman farmers. And rural women should activate their roles in order to find a way to overcome their difficulties, by participating in community development programs and even by joining the social actions if needed.

한국 기업복지의 성격에 관한 연구

한영현 광주보건대학 1995 論文集 Vol.20 No.-

In the Western welfare states, the extent and coverage of benefits provided by company welfare has been recently extended. But company welfare would rather reinforce inequality than contribute to accomplish the social equality, because it, as mentioned by Mishra, tends to reproduce the capitalistic relations of distribution. Company welfare in Korea has been rapidly expanding since 1987. It is, therefore, required to examine the characteristics of company welfare in Korea. The major findings are as follows: 1. Government enforces the market-oppression strategy that restrains the labour class from claiming for fair distribution and intends to disorganize, depolitisize the labour class. Because of this strategy, responsibility of solving the problems of the labour class is placed at capital-labour relations and the welfare of the labour class is dependent on market mechanism. As the consequence of this strategy, state welfare is underdeveloped and company welfare is reinforced. 2. The quantity of company welfare has been expanded since 1970s. However, company welfare tends to increase the values of company estate rather than to secure the living of the labour class. Therefore, company welfare program which intends to disorganize the labour union has been expanded since 1987. 3. The level of bencefit and the coverage of company welfare are unequal by company size and industry. As the laborer who gets higher wage receives higher benefit, company welfare in Korea is regressive in terms of redistribution.

사회복지관 및 재가복지봉사센터의 자원봉사활동 활성화를 위한 연구

한영현 광주보건대학 2001 論文集 Vol.26 No.-

With the growing importance of volunteer workers in the delivery system of social welfare services in Korea, it becomes essential to understand the dynamics of volunteer behavior. In these dynamics, the factors which lead a volunteer either to retain his volunteer activities or to drop out are very important, especially because a high turnover of volunteer in social welfare agencies creates major difficulties in volunteer program management. This work aims to suggest some ideas for the expansion of volunteer activities in the community welfare centers and home-helping service centers. The major ideas are as follows. 1. Community welfare centers and home-helping service centers have to engage a volunteer management coordinator. And volunteer activities of social welfare agencies have to be organized. 2. The public financial assistance for the community welfare centers and home-helping service centers ought be increased. 3. Social welfare agencies particularly as community welfare center and home-helping service center have to understand the dynamics of volunteer behavior to make effective management strategy of volunteer workers. 4. Community welfare centers and home-helping service centers have to make more efficient volunteer programs. 5. Social welfare agencies have to have more education programs and peer group programs for the volunteer workers.

도시지역 자원봉사활동의 활성화 방안에 관한 연구

한영현 광주보건대학 1998 論文集 Vol.23 No.-

With the Growing importance of volunteer workers to the delivery of social welfare services in Korea, it beconies essuntial to expand the volunteer activity. This work aims to suggest some ideas for the expasion of volunteer activity in the urban area. The major ideas are as follows. 1. Community volunteer center has to be established by the local government. And volunteer activity has to be organized by community volunteer center. 2. Home-help service centers in the community should be reformed. 3. The financial size of home-help service centers has to be increased. 4. Social welfare agencies have to understand the dynamics of volunteer behavior to make effective management strategy of volunteer workers. 5. Social welfare agencies have to make more efficient volunteer programs.