문화·환경·기술

임대근(Great Root Woods) 글로컬창의산업연구센터 2012 글로컬창의문화연구 Vol.- No.1

20세기 인류가 직면했던 문제들은 많은 개념어들로 표출됐다. ‘근대’를 대표하는 이 개념들은 우리가 세계를 인식하고 설명하는데 중요한 틀로 작용했다. 그렇다면 21세기를 대표하는 개념어들은 어떻게 추출할 수 있을까? 이 글은 ‘문화’, ‘환경’, ‘기술’이라는 세 개념을 선택한다. 그것은 ‘근대’의 개념어들이 역사적이고 국면적인 상황에서 출현한데 비하여 이 세 개념은 근본적이며 본질적이고, 자발적이고 포괄적인 특징을 갖고 있기 때문이다. 그러나 단일 개념이 독자적으로 존재할 때, 그것은 오늘날과 같이 복잡한 세계를 설명하기에 어렵다. 그러므로 이 개념들은 서로가 조우하면서 새로운 의미작용을 구성한다. 이와 같이 절합된 의미작용을 두고 이 글은 “개념은 외롭지 않다”(Conception is not lonely.)고 말한다. 그러나 이들 사이에 조우하는 대립항으로서의 개념들은 현실적으로 많은 충돌과 갈등을 야기한다. 이는 문화와 환경 사이의 충돌, 환경과 기술 사이의 충돌, 문화와 기술 사이의 협조 또는 충돌 등으로 표현된다. 한국의 ‘천성산 도룡뇽 사건’이나 ‘제주 해군기지 건설 사건’ 등은 그 대표적인 사례들이다. 그렇다면 이런 상황에서 우리는 어떤 방식으로 이 문제들을 해결해야 하는가? 이 글은 ‘문제해결거리(Distance for Solving Problem)’라는 개념을 새롭게 제기한다.‘제도’와 ‘관습’, ‘이념’, ‘정서’로 포위된 ‘문제’를 해결하기 위해서, 우리는 문제로부터 가장 먼 거리에 떨어져 있는 ‘정서’에 대해 관심을 기울여야 한다. 이런 상황에서 우리는 어떠한 지식을, 어떻게 생산해야 하는가? 이것이 이 글의 물음이다. We are now living in the generation, turning point of the 21st century. We are also living with the identity of the drifting intellectuals between modern and post-modern times. The innumerable conceptions describing the modern era has become fixed and obsolete, in which do not fully explain the new era. However, now it is the time to have more comprehensive and fundamental conceptions, and that is, ‘Culture’, ‘Environment’, and ‘Technology’. Through the overlapping encounters among these words, there is a new construction of the meanings. That meaning is not speculative, but happens or acts on the realistic layer. They are indeed conflicting and crashing against each other. So, how is it that we can manage these issues? The concept of ‘distance for solving the problem’ with ‘system’, ‘convention’, ‘ideology’, and ‘emotion’ could be the alternative thinking. There certainly is difficulty and complexity from the core of ‘emotion’ to ‘system.’ However, if we, as a society, were not to walk on this path of difficulty, out society could not bring forth new change, but woul djust face endless problems that are entangled in each other. Therefore, in order to bring a positive solution, we must seek new ways in solving the problems in the new era, and at the same time we must also bring creative knowledge between the topics of ‘environment’, and ‘technology’ while thinking in a ‘cultural’ way. This process should not be so that we are manipulated by the force of the powerful capital. In conclusion, the result of this debate would be the ‘non- capitalistic production of knowledge.’

문화콘텐츠연구의 학문적 위상

임대근(Great Root Woods) 인문콘텐츠학회 2015 인문콘텐츠 Vol.0 No.38

이 글은 21세기 이후 출현한 새로운 경향으로서 문화콘텐츠연구의 학문적 위상을 문제화한다. 문화콘텐츠 현상은 문화에 대한 산업적, 기술적, 정책적 필요에 따라 등장했기 때문에 오랫동안 그 학문적 체계를 구축하는 일을 중요하게 여기지 않아왔다. 따라서 개별적인 문화콘텐츠 현상에 대한 연구는 다수 축적돼 있으나, 그 학문적 위상을 체계적으로 구성하고자 하는 노력은 상대적으로 미약했다. 이 글은 근대이후 학문적인 맥락 속에서 문화콘텐츠연구가 역사적 단절 가운데 불현듯 출현한 입장이나 태도라고 간주하지 않는다. 오히려 그것은 근대 이후 학문이 실천적으로 축적해 왔던 다양한 성과들을 계승하는 한편 그 한계를 극복하려는 시도로서 간주되어야 한다고 주장한다. 따라서 이 글은 근대 이래 문화를 학문적으로 대상화했던 네 가지 사례를 살펴보았다. 분과학문으로서는 문화인류학과 사회학, 상호 학문적(학제적) 연구로서는 지역연구와 문화연구가 그것이다. 이들은 각각의 성과와 한계를 문화콘텐츠연구에 물려주었고, 문화콘텐츠연구는 이들을 계승하거나 극복하는 과정에서 학문적 정체성을 구성해가고 있다. 그 결과로서 이 글은 다음을 주장한다. 첫째, 문화콘텐츠연구는 기존 분과학문과는 다른 학문적 경향이다. 둘째, 오늘의 시점에서 문화콘텐츠연구는 현실적으로 상호 학문적(interdisciplinary) 연구이지만, 이상적으로는 기존 분과학문들의 단순한 결합을 넘어서는 초학제적(trans-disciplinary) 연구를 지향해야 한다. 셋째, 문화콘텐츠연구는 그 자체가 하나의 단일하고 궁극적인 학문적 목적을 향해서 나아가지는 않는다. 그것은 세계의 다양한 현상들이 서로 교차, 삼투, 결합되면서 빚어내는 상상력 넘치는 새로운 경관들을 실천적으로 논의하는 과정이 되어야 한다. 무엇보다 이 글은 문화콘텐츠연구에 있어서 무엇보다 중요한 것은 우리가 어떠한 ‘꿈’을 구현할 것인가에 관한 ‘가치’의 발견이라고 믿는다. This article problematizes the academic positioning of cultural contents studies as a new academic trend emerged in the 21st century. Since the phenomena of cultural contents had generally appeared according to industrial, technological and policy needs for culture, establishing an academic system about them has not been considered as important for a long while. Accordingly, even though there are considerable studies on individual phenomenon of cultural contents, efforts to systematically define their academic position have been relatively insubstantial. Yet this article does not see cultural contents studies as a sudden stance or attitude that appeared from some historical rupture against a continuing modern academic context; cultural contents studies rather should be taken as an effort to inherit various scholarly achievements made since the modern era and to overcome their limitations. To substantiate this argument, this article reviews four academic cases that exemplify academic objectification of culture since the modern era: as a discipline, there are cultural anthropology and sociology; and as interdisciplinary studies, there are area studies and cultural studies. These four fields handed over their respective achievements and limitations to cultural contents studies, which, in turn, is establishing its own academic identity in the process of inheriting or overcoming them. Consequently, this article argues: first, that cultural contents studies is an academic trend different from any other existing disciplines; second, that it is only realistic that this field should be interdisciplinary in these present times; and third, that cultural contents studies does not move toward a single, ultimate academic purpose?it should be a process where diverse global phenomena cross paths, permeate and combine with each other, with practical discussions on the new, imaginative landscapes they have created. Most importantly, the single most critical element in cultural contents studies should be to identify ‘values’ concerning the kind of ‘dreams’ we are trying to materialize.

리안(李安)의 초기작 혹은 경합하는 개념들

임대근(Great Root Woods) 한국영화학회 2014 영화연구 Vol.0 No.62

This study discusses Ang Lee’s early three films: Pushing Hands, The Wedding Banquet, and Eat, Drink, Man, Woman. It uses the concept of ‘displacement’originated in surrealism. All of them represent important problems of displacement: Pushing Hands represents it composed by phsycal space; The Wedding Banquet represents it by sexual space; Eat, Drink, Man, Woman represents it by blood and social space. It has some conclusion as following: (1) There are various terms and conceptions that explan decontextual interaction such as diaplacement, diaspora, transnationality, translocality and so on. They were accepted as very useful instrumental conceptions. Meanwhile, they have an unstable position because of inter-struggling. So, it needs more detailed review and application. (2) Transnationality or translocality does not build up any composition of surface layer. They certanly wake problems get entangled in identity, race, sexuality, blood and so on in depth layer. If we explan them in abstract layer, it will cause some results that exclude specific aspects of life. (3) The specific aspects of life must study with the power relationship between subject and object, their decontextualization and recontextualization. The decontextual interaction certanly has the change of power realtionship, and explain the complex and multiple layers of power. (4) Translocality as a recent coneption claims to some oppositive categories such as center vs local, politics, economics vs culture, or nation vs region. It naturally provides new point of view, and we cannot criticize the attitude of cheer of new term or conception obstinately. However, it needs more detailed discussion rather than accepted as the political correctness immediately.

『중국영화발전사』를 넘어서

임대근(Great Root Woods) 중국영화포럼 2014 영화중국 Vol.1 No.1

In the field of Chinese film history studies, the History ofChinese Film Development by Chneg Ji Hua is a great significance. Although there is an inclination to support government politics, but we cannot have any new history that overcame this work. This paper argues that we need to solve some important agendas to describe Chinese cinema history with a new perspective. First, it is most important if it is possible or not. Because the cinema history is an aggregation of arts, aethtetics, industry, policy, thecnology, culture and ideology, it has a problem of combine them qualitatively. There was some efforts to solve it, but they were not appeared a form of quantitative combinationa but qualitative. Second, it is a problem of period division of the history. We should consider the situation that is accepted two discourses, chronicle and generation universally. Because the generation discourse is a director centric description, we can support the chronicle discourse, but there is still some issues. For example, we do not have the film of Dingjunshan 定軍山 in 1905, and we also have a new problem naturally how to confirm the orginal point of Chinese history. There are so many period division and their meaning we should explain too. Third, it is a problem of regional category to describe Chinese cinema history. In other words, how we can name and combine or devide the mainland, Hong Kong and Taiwan cinema. Althogh there is some causal relationship between Hong Kong and Shanghai film history, but we can not deny the independent identity of Hong Kong cinema. Taiwanese cinema history also has been made a independent category. Therefore, we must not regard them as a bottom categories of mainland cinema. I hope that we can have a new Chinese cinema history in Korean solving those agendas devicefully.

한국인의 대만 인식: 대중문화 경험을 중심으로

임대근(Great Root Woods) 한국외국어대학교 대만연구센터 2017 대만연구 Vol.- No.10

The historic relationship between Korea and Taiwan was a blood alliance. But it was a top-down relationship, and has been collapsed after the rupture. Generally, Korean has had an empty image on Taiwan. However, there are some changes these days. This paper researches a statistics of the key words ‘Taiwan’ and ‘Taipei’ from 2007 to November 2016 on the Naver Trends, the very most popular portal site in Korea for examining what those changes are. Many Korean’s interest on Taiwan has focused on pop-culture, weather, sports, tourism and so on. Grandfathers over Flowers, an entertainment program that is the Korean cable channel tvN broadcasted from July 2013 was a knee point in Korean’s interest on Taiwan. We have known some new trends through its internet viewer board. First, it has played an important role making an opportunity of new concept on Taiwan. Second, many Koreans have recalled and strengthened their own cognition and experience on Taiwan. Third, the indirect or media experiences also have been recalled after watching this program. Fourth, many Korean’s individual cognition and attitude have been very positive, and the impression has been very good.

시각의 충격: ‘상하이영화’ 현대화의 기원에 관하여

임대근(Great Root Woods) 한국영화학회 2019 영화연구 Vol.0 No.80

이 연구는 동아시아영화의 한 부분으로서 상하이영화를 다룬다. 영화의 ‘본토화’라는 개념에 근거하여 상하이영화가 어떻게 중국영화 현대화의 기원을 형성했는지를 살펴본다. 이를 위해 ‘시각의 충격’을 전시하고 있는 중국영화박물관의 기획을 문제화하고 나아가 ‘시각의 충격’이 구성해온 보편화와 본토화 과정을 논의한다. 그 구체적인 사례로 상하이영화의 기원으로 간주할 수 있는, 현존하는 중국 최고(最古)의 영화 〈과일장수의 사랑〉(勞工之愛情, 1922)을 분석한다. 이 영화는 네 가지 측면에서 중국 현대영화의 기원적 특성을 보여주고 있다. 1920년대 상하이라는 신흥도시의 문화기술지(ethnography)적 성격, 코미디 영화로서 장르적 서사성의 구축, 초기 중국영화로서 진보적 영화 미학의 활용, 할리우드 영화의 영향이 그것이다. 이러한 논의를 통해 근대 전환기 서양에서 중국으로 진입한 영화가 상하이에서 어떠한 경로를 거쳐 ‘시각의 충격’과 당대적 관객성을 형성했는지 살펴본다. 초기 중국영화로서 상하이영화는 다양한 요소를 원용하는 ‘본토화’ 과정을 통해 서양 영화의 형식적, 기술적, 내용적, 서사적 요소를 받아들임과 동시에 자기화를 추구했다. 이는 중국 현대영화의 기원으로 간주될 수 있다. This study focuses on Shanghai cinema as a part of East Asian cinema. Based on the concept of ‘the localization’ of the film, it examines how the Shanghai cinema had formed the origin of modernization. To discuss this agenda, it problematize the project of the China National Film Museum, which is exhibiting the ‘visual shock’, and it also discusses the universalization and the localization process that ‘the visual shock’ has composed. Furthermore, it deals with the oldest Chinese film, Labourer’s Love(勞工之愛情, 1922) which is the first film we can see now. This film shows the original characteristics of modern film in four aspects. The ethnographic tone of Shanghai in the 1920s, the construction of genre narrative as a comedy film, the use of progressive cinematography as an early Chinese film, and the influence of Hollywood cinema. Through these discussions, we will examine how the cinema that had entered China from the West in the modern transition period has formed the ‘visual shock’ and the audiencity at that time. As an early Chinese film, Shanghai cinema had pursued subjectivation while accepting the formal and technical, narrative contents of Western films through the process of ‘localization’, which used various elements. This can be regarded as the origin of modern film.

최근 대만 단편영화의 어떤 경향

임대근(Great Root Woods(LIM Dae Geun)) 한국외국어대학교 대만연구센터 2020 대만연구 Vol.- No.15·16

This article is a small challenge to combat prejudice against short films. To this end, the concept and meaning of short films are summarized, and film festivals as a platform to introduce and screen short films in Korea are examined. In particular, by using a kind of auto ethnography method, it describes the experience of introducing Chinese cultural area films. As a specific example of analysis, the narrative tendency of some short films screened at the ‘2016 Taiwan Film Festival’ are analyzed. The narrative tendencies of the seven Taiwanese short films can be categorized into violent of traditional family system, the sociality and reality of narrative topics, the transidentity agenda and its complexity and the structure of narrative reversal. It is a challenge in our time to discover the possibility of short films as a ‘young’ films and to design a platform for them in Asia to interact. Short films have enough imagination and narrative power to lead future films. I hope that the theoretical discussions and practical efforts for various short films in Asia will be more active, and further expand the scope of mutual sympathy, embracement, approval, and understanding through ‘Asian feeling’.

가오싱지안(高行健) 영화론 -<실루엣 혹은 그림자(La Silhouette sinon L`ombre)> 와 <혼돈 이후(APRES LE DELUGE)>를 중심으로-

임대근 ( Great Root Woods ) 한양대학교 현대영화연구소 2012 현대영화연구 Vol.8 No.1

This work has tried to review Gao Xing-jian`s films. Gao is Chinese French who has exiled because of political oppression on his works of art. He has directed two films: one is La Silhouette sinon l`ombre(2006), another is APRES LE DELUGE(2008). There is an objection that was already raised by myself to producing knowledge and building up discourse on Gao in Korea. For this reason I have argued intertextuality his own works, and considered the ways how the signification of the inner-texts meets some contexts in outer-texts as an advocate for contextuality and articulation for overcoming some gaps and splits between object and subject of study. Firstly it has argued the relationship of La Silhouette sinon l`ombre and APRES LE DELUGE. Despite of some differences like running time or the method of using and arranging images, APRES LE DELUGE has succeed La Silhouette sinon l`ombre from various angles something like atmosphere, style, shots, hybridity of identity. Secondly, it has also argued the signification of his films is very similar to poetic signs: they have excluded narrative and arranged images with non-lineal method. It could borrowed the argument of poetic cinema by Pier Paolo Pasolini. Especially his concept, free indirect point of view shot, a requisite of poetic cinema is discovered repeatedly in his films. However, in conclusion, it has presented those requisites of form or style could not explain some in-depth signification of his films, it would be secured from understanding context as the conditions that could created those form and styles. Gao has problematized hybridity of self identity articulating his own life history with arranging ambiguous images. And it is connected to some post-colonial interpretations.

‘삼국지’의 한국적 정전화

林大根(Great Root Woods) 중국어문논역학회 2016 中國語文論譯叢刊 Vol.0 No.38

이 글은 한국 사회에서 ‘삼국지’가 공고한 정전으로 자리 잡는 과정에서 ‘대입 논술고사’가 주요한 문화장(cultural field)의 구성 요소였음을 밝히고자 하였다. 연구는 중국 문화가 한국 사회에서 유통되고 소비되는 방식을 밝혀보려는 목적에 따라 수행되었다. ‘삼국지’의 정전화 과정에는 다양한 문화장 내부 주체가 개입하여 상호 공조함으로써 ‘모종의 공모’ 관계를 구성했으며, 그 중 ‘대입 논술’의 역할은 주도적이었다. 이러한 과정은 ‘삼국지’ 번역판 소설이 한국 사회에서 유통되는 맥락에서 언론 보도와 광고의 재현 양상을 통해서 분명하게 드러난다. 그러나 결과적으로 이러한 과정은 “텅 빈 정전화”라고 불러도 좋을 만큼 많은 과정과 의미를 결여하고 있다. 그것은 다음과 같은 이유 때문이다. 첫째, ‘삼국지’에 의미를 부여하는 과정이 생략되었다. 둘째, 비슷한 맥락에서 ‘삼국지’를 어떻게 읽어야 하는가에 관한 논의 역시 결여돼 있다. 셋째, 이 과정에 언론 보도와 출판사 광고를 중심으로 한 일련의 상업적 전략이 깊이 개입했다. 넷째, 일련의 과정에서 해당 분야 지식인들은 실천적으로 개입하지 못했다. 다섯째, 결과적으로 한국 사회에서 ‘삼국지’는 흥미로운 읽을거리라는 틀을 벗어나지 못했고, 다양한 담론을 형성하지 못한 채 그저 ‘대입용 고전’ 혹은 ‘처세서’라는 이미지가 강화되고 말았다. 이 글은 이와 같이 한국의 중국 문학 관련 전문가와 지식인이 중국문화의 대중적 유통에 비판적 담론을 선도하지 못하고 이를 방조해 왔다는 점을 문화정치학적 측면에서 밝히고자 하였다. This article aims to explore how the University Admission Essay Test served as a component of a major cultural field where Romance of the Three Kingdoms was established as literary cannon in Korea. This study was conducted in this regard in order to clarify how Chinese culture is generally distributed and consumed in Korean society. Various internal subjects within the cultural field were involved in the course of canonization for this particular literary work; these subjects aided each other and created a relationship with ‘a kind of collusion,’ in which the University Admission Essay Test played a leading role. When we look at the context of how the Korean translation of Romance of the Three Kingdoms was distributed in this country, this canonization course can be evidently shown in the related media coverage and advertisement representation. In the end, the course itself lacked so many processes and meanings that we can even call it as a course of ‘empty canonization.’ There are specific reasons for this argument. First, there was no process to give a meaning to Romance of the Three Kingdoms. Second, in a similar vein, there was no discussion on how we should read this literary work. Third, a series of commercial strategies were deeply involved in this overall process, mainly through the media coverage and the advertisements by publishers. Fourth, the intellectuals in relevant fields did not have any practical engagement. Fifth, as a result, Romance of the Three Kingdoms was established as nothing but an interesting novel, without creating diverse discourses, which only strengthened its position as a ‘classic required for university admission text’ or a ‘secret of success’ on the bookshelf. This article intends to explain how Korean experts and intellectuals in the field of Chinese literature failed to lead a critical discourse in the popular distribution of Chinese literature and actually provided connivance, from a cultural-political perspective.

기획논문: "한국영화 7선": 2015년 한국영화를 말하다 : <다이빙 벨>: 개입의 미학과 주장의 전략, 혹은 기록의 가치

임대근 ( Great Root Woods ) 한양대학교 현대영화연구소 2015 현대영화연구 Vol.11 No.1

2014년 4월 발생한 ‘세월호’ 사고에 뒤이어 실종자 구조 및 수색을 위해 ‘다이빙벨’이 투입되었다. 다큐멘터리 <다이빙벨>은 그 과정에서 벌어지는 사고 수습의 과정과 대응방안을 기록함으로써 이 사고와 관련된 최초의 영화가 되었다. 이 글은 다큐멘터리 <다이빙벨>이 ‘세월호’ 사고를 한국 사회구성 주체가 어떻게 대처했는가에 대한 영상 기록이자 주장으로서 위치지었다고 간주했다. 이러한 분석을 위해 우선 세계에 대한 인식은 항상 구성되는 것이라는 전제 위에서 ‘원본’과 그 복사로서의 재현에 관한 논의를 살펴본 뒤, ‘세월호’ 사고를 기록하는 카메라의 양상을 검토하였다. <다이빙벨>은 한국영화의 안과 밖에서 여러 논란들을 촉발하였던 만큼, 한국 사회는 물론 영화계의 핵심적인 논의들에 관한 징표라 볼 수 있다. <다이빙벨>은 자신의 주장을 전개하기 위해 두 가지 대립점, 즉 기존 주류 언론과 행정부를 설정한 상태에서 다양한 개입의 미학과 전략을 채택하였다. 이를 바탕으로 다큐멘터리 내부 자막의 삽입, 감독의 개입, 감독의 주체위치, 대립점으로 설정한 지점들에 대한 의미들을 검토하였다. 결론적으로 <다이빙벨>은 정서적 근거를 축적하는 과정을 통해서 자신의 주장을 정당화하려는 전략을 구사하였으나, 결과적으로는 ‘다이빙벨’ 투입의 과정에 대한 성실한 ‘기록’이 전체 주장을 뒷받침하는 가장 강력한 근거로서 제시되었다고 보았다. This paper argues that the documentary Diving Bell(the English official title is The Truth shall not Sink with Sewol, 2014) constructs subjets of society in South Korea how to deal with the Sewol ferry accident in 2014. It takes its own position as an image record and an argument. Although there are some problems such as distance, editing, choice, or extraction between affairs of ‘original’ and ways of ‘representation’, it carried out the task of the argument and record for establishing derection of the representative truth. This paper analyse the astehticd of intervention and strategy of its own argument: insert of subtitles, appearance of director in the frame, the subjective position of director, and the meaning of mainstream TV news and administration as the conflict point of this documentary. As a result, the documentary, Diving Bell used the strategy for justifying its own argument through accumulating affective bases, but we can say that the detatiled and industrious record on the process of deploying ‘Diving bell’ is the strogest basis that can support its whole argument.