정성일의 <오아시스> 비판에 투영된 관점의 가능성과 한계 - 정성일 영화비평에 대한 일고찰 -

박우성 ( Park Woo-sung ),정수완 ( Jung Su-wan ) 국제어문학회 2015 국제어문 Vol.0 No.67

본 연구는 영화비평가 정성일이 <오아시스>(이창동, 2002)에 대해서 쓴 비평문「판타지, 기만적인 환영술」을 비판적으로 분석한다. 그간 한국영화계에서 영화비평은 독립적인 분과로 논의되지 못했다. 산적하는 영화들 안에서 영화적 가치를 발굴해 정리하고 새로운 영화 언어를 대중 언어로 번역하는 것이 영화비평의 역할이라 했을 때 이는 문제가 있다. 영화비평에 대한 그간의 접근은 한국영화사의 맥락에서 특정 영화비평집단을 세대론적으로 조망하거나 특정 개인의 비평 세계를 전기적 관점에서 서술한 것에 머문 한계가 있다. 정성일은 1990년대 한국영화비평의 전성기를 주도했던 한국의 대표적인 영화비평가이다. 호불호가 갈리지만 그의 글은 대중들 사이에서 영화비평이라는 개념이 성립되는 과정에 주요한 이미지를 제공했다. 특히 본 연구가 다루는 정성일의<오아시스> 비판은 논쟁 참여를 전제해 작성된 덕분에 비평담론 자체가 중심에 서있고 무엇보다 정성일의 영화에 대한 태도가 여타의 글에 비해 명확하게 드러나는 특징이 있다. 더구나 그 논쟁은 영화의 윤리, 완성도, 자의식 등을 두고 벌어진 영화비평계 내부의 마지막 논쟁이라는 영화비평사적 의의도 있다. 나아가 영화 한편에 대한 긴 글이기 때문에 한국의 대표적 비평가가 영화를 비평하는 구체적 실천 양상이 현장감 있게 녹아 있기도 하다. 영화를 종교처럼 대한다는 비판이 존재하지만 정성일 영화비평의 경쟁력은 숏의 배치, 장르 문법, 카메라 시선과 같은 영화의 자의식을 정밀하게 분석하는 것에서 나온다. 영화란 무엇인가와 같은 근본적인 질문에 기반을 둔 이런 태도는 영화를 여타의 학문에 종속시킨 종래의 비평 태도와 차별되며 영화를 진지하게 바라보는 태도를 대중화시킨 의의가 있다. 하지만 그것만큼의 오류도 발견된다. <오아시스>를 비판할 때 투영되는 정성일의 관점의 가능성과 한계를 구체적으로 밝힘으로써 한국영화비평의 전성기를 주도했던 한 영화비평가의 개성적 세계관을 비판적으로 조망하는 것이 본 연구의 목적이다. 독립적인 분과로 인식되기는커녕 죽음까지 운운되는 영화비평의 위기 시대에 한국의 대표적 영화비평가의 세계관이 상징적으로 녹아 있는 글을 정밀하게 분석하는 것은 그것 자체로 의미 있다. This study analyzes the critique “Fantasy, deceptive hallucination” which sung-il jung wrote about < Oasis >(Changdong Lee 2002). Film critique has not been recognized and discussed as an independent field in the Korean film industry so far. It can be problematic if the role of film criticism is to get the cinematic values arranged among the pile of films and to translate new cinematographic language into the public language. The approach to the film critique to this point has limitation that in the context of Korean film industry, it viewed certain group of film critics in the perspective of theory of generation and it described certain person`s world of criticism in a biographical way. sung-il Jung is one of the representative film critics in Korea who lead the golden age of Korean film criticism in the 1990s. His writings provided important image in the process of establishing the concept of film critique among the public, even though they are controversial. The Jung`s criticisms this study exclusively deals with are based on the premise of argumentative participation, so the discourse is central and fundamental, and it brings out the cinematic view of Jung precisely compared to the other writings and articles, which is the advantages of this study. Moreover, the argument has significance in the field of film criticism for being the last dispute inside the field of film critique over the morals, degree of completion, and the consciousness of identity. Above and beyond, because this paper is a long writing about a movie, it contains detailed and vivid practical aspect which the representative critic of Korea criticizes the movie. Although there are criticisms of discussing movies like a form of religion, sung-il Jung`s film critique is competitive for detailed and precise analyze of films` sense of identity such as plot of shots, code of genre, and the eyes of cameras. This attitude based on the fundamental questions such as what is film is considered significant for popularizing and promoting earnest attitude toward movies, and is differentiated with the traditional attitudes of criticism which are to subordinate films in the other fields of study. However, due to being so, some errors are discovered. The purpose of this study is to critically outlook a distinctive world view of a film critic who enjoyed the film critique`s prime by concretely describing its possibilities and limitations through revealing Jung`s point of view which is his prerequisite for watching movies. The work of precise analyzing of one of the Korean representative film critics` writings which contains symbolic world view is significant and meaningful by itself in the time of the film criticisms` crisis when the idea of the demise of film criticism is being mentioned, let alone its separation as the independent field.

고레에다 히로카즈(是枝裕和)영화에 나타난 가족의 의미 연구

정수완(Jung, Soo Wan) 동국대학교 영상미디어센터 2014 씨네포럼 Vol.0 No.19

고레에다 히로카즈는 영화를 통해 동시대의 일본사회에 대한 지속적인 관심을 보여 왔다. 그가 현실 사회에 대한 관심을 드러내는 다큐멘터리를 관심 장르로 선택하고 있다거나, 극영화의 경우에도 주로 실제 있었던 사건들을 토대로 영화를 만들어 왔다는 사실은 이와 같은 그의 일본사회에 대한 관심을 드러낸다. 본고는 그가 의도했던 의도하지 않았던 그의 현실에 대한 관심이 그의 가족영화들을 통해 1990년대 일본에서 새롭게 일고 있는 내셔널리즘을 어떻게 반영하고 있는지 살펴보고자 한다. 일본영화사에서 가족영화가 일본이 국가적인 위기에 처해 내셔널리즘적인 공동체의식이 필요할 때마다 등장했다. 1930년대 소시민영화는 일본이 관동대지진과 경제 대공항으로 혼란에 빠졌을 때 내셔널리즘을 강화하는 역할을 했으며, 1950년대 홈드라마는 패전 후 실의에 빠진 일본인들에게 국가적 자긍심이 필요한 시기에 유행했다. 1990년 이후 가시화된 냉전해체와 거품경제붕괴, 한신대지진과 옴진리교 사건, 그리고 2011년 3.11 재해를 겪으면서 역사공동체인 일본에 대한 귀속의식을 통한 새로운 내셔널리즘을 요구하고 있는 1990년대에 고레에다 히로카즈는 비혈연가족, 여성의 배제, 가부장제의 계승이라는 특징을 통해 일본 가족영화를 부활시키고 있다. Kore-eda is the director who has been showing his concern for contemporary Japanese society through his films. Not only his documentaries, but also his feature films dealing with family problems expose his concern for Japanese society. This paper studied how his concern for Japanese society resulted in reflecting the new nationalism of Japan in 1990"s through his family films. In Japan, family films were popular whenever the nation required nationalism facing crisis. Shosimineiga was popular in 1930"s when Japan was eager to strengthen nationalism after experiencing the Great Kanto earthquake and economic depression. Home drama was popular in 1950"s when Japan was in need for nationalism as a victim of atomic bomb in post war period. In 1990"s when Japanalso was on the rise of nationalism after the Great Hanshin earthquake and Om terror in 1995, and the Great East Japan earthquake in 2011, Kore-eda made the family films which inherited the tradition of Japanese family film by recognizing non-blood related family, elimination of woman andstrengthening of patriarchy. Kore-eda responds to the request of the age by making family films whenJapan is in need for the successor to Ozu Yasujiro for the story about father whether he is conscious of it or not.

특집논문 : <한공주>의 편향적 젠더 인식 연구

정수완 ( Soo Wan Jung ),안영임 ( Young Im Ahn ) 한양대학교 현대영화연구소 2015 현대영화연구 Vol.11 No.3

2004년 밀양 집단 성폭행 사건을 영화화한 <한공주>는 성폭력 피해자인 여성이 겪는 고통과 절망에 대한 영화이다. 영화는 기존의 장르적 형식을 넘어선 신인 감독의 도전적인 연출을 통해 여성 피해자를 억압하고 소외시키는 사회의 부당함과 세상의 부조리를 직시하도록 했다는 점에서 관객과 평단으로부터 좋은 평가를 받았다. 그러나 영화는 성폭행 피해자를 소외시키는 사회에 대해 비판하면서도 스스로 그러한 인식을 재생산하고 있다는 사실을 은폐하고 있다는 점에서 기만적이라고 할 수 있다. 공주와 화옥은 같은 피해자임에도 불구하고 성적으로 처녀인 공주는 무고한 피해자로 재현되며, 성경험이 있는 화옥은 임신한 채 자살한다. 또한 남성의 개입 혹은 남성적 가치로 인해 여성들은 공주를 방관하고 만다. 여기서 여성의 연대는 불가능한 것으로 자연화 된다. 영화는 이러한 재현을 통해 스스로가 비판하는 문제점들, 즉 남성 중심의 담론에 무의식적으로 동조하는 태도를 보인다. 이 때문에 <한공주>는 유의미한 비판점을 제시했음에도 불구하고 근원적인 문제가 되는 편향적인 젠더 인식을 공고히 하며 재생산시킬 위험을 내포하고 있다. Han Gong-ju, based on the infamous Miryang gang rape incident of 2004, is a film about the pain and despair of the woman victimised from the sexual violence. Won many film festival awards, Han Gong-ju was praised by critics and audiences with its attitude to criticize the deep rooted male centered perception of Korean society isolating victimised woman. But it is problematic that Han Gong-ju is deceptively reproducing the gender biased perception while criticizing the Korean society for not looking at the injustice and the absurdity of the incident. In the film, Gongju and Hwa-ok are represented as the image of female saint and prostitute respectively. Gon-ju, the virgin is represented as a innocent victim, while Hwa-ok who is not virgin is forced to commit a suicide. The impossibility to make a female solidarity with the interruption of the man can not save Gon-ju from death. Even Han Gong-ju tried to criticize male oriented Korean society which drove victimised woman to commit a suicide, it strengthened and reproduced the gender biased perception through classical female representation.

1950~60년대 한일 청춘 영화 비교 연구

정수완(Jung Soo Wan) 한국영화학회 2005 영화연구 Vol.0 No.26

나루세 미키오(성뢰사희남(成賴巳喜男))의 아내영화(처물어(妻物語)) 연구 -아내영화 3부작에 나타난 여성과 남성을 중심으로-

정수완 ( Soo Wan Jung ) 한양대학교 현대영화연구소 2010 현대영화연구 Vol.6 No.1

Naruse Mikio is well known as a director who is good at making a film with a woman and a man. His Marriage Trilogy is a genre in which he showed his talent for it. He represented the new woman character and the new man character of postwar Japanese society in his marriage trilogy, <Meshi/Repast>, <Tsuma/Wife>, <Fufu/Husband and Wife>. Even his marriage trilogy focused on the conflicts of the married couple in their marriage life, the films were called in Japanese Tsuma monogatari, which means the story of wife. It means that the marriage trilogy is focusing on the story of woman/wife rather than the story of the marriage life. In postwar Japanese society, the state of the man weakened with the weakness of the patriarchism. The marriage trilogy represented the man as weak, the woman as strong to reflect of the postwar Japanese society. This weakness of the man in the films is explained by the amae which is the unique Japanese psychology to depend only on mother. In the film, man always does amae to ask the food and everything from his wife. The wife is tired of all this amae of the husband and become tired of the marriage itself. The childless of the marriage in the films also makes the husband to do amae to the wife instead of the child. The wife who was tired of all the amae of the husband run away from home to find her own happiness. Comparing the wife or the woman who always endured all the difficulties in the films which made before the war, the wife in the marriage trilogy seemed to be more independent. The independent or strong woman in marriage trilogy is represented more actively in films comparing to the man. She always works or moves while the husband always lies or does nothing. Even she always locates in the higher position than her husband. When he sits, she stands. When he lies, she sits. Even the marriage trilogy was successful in representing a new woman as a active wife, the films still have the limit to free the wife from the patriarchy by making her return to home in the end. But it is sure that Naruse Mikio was successful in making the new woman character in his marriage trilogy.

전전(戰前) 일본영화에 나타난 근대화와 국수주의 연구

정수완(Jung Soo Wan) 한국영화학회 1999 영화연구 Vol.- No.15

It is generally said that the process of Japanese modernization has showed uniqueness: the change from the aspiration toward Westernization to the resistance to Westernization to return to its tradition. However, it is based on the misconception to see the development of the history from the Western-centered point of view. It is to confine "the japanese popular culture", and "Japanese nationalism" which has its own historical context to the model of linear progress of Western history. In this context, this paper examined that the aspiration toward Westernization and the resistance to Westernization based on the nationalism in Japan co-existed from the beginning of the modernization through the analysis of three films; Dragnet Girl(1933) by Ozu Yasujiro, Male vs Female(1936) by Shimizu Yasujiro, and Momotaro, the Invincible Navy(1945) by Seo Mitsuyo. As it is revealed in Dragnet Girl by its attitude toward Moga and traditional woman, Japan was on the side of tradition even in the middle of the process of modernization. Although they are accustomed to the Western material life, they would not lose their traditional spirit. With the Manchurian colonization in 1930s, which was designed to do the mission to expand the Japanese empire at the same time to save Japanese agriculture, Japanese society began to recognize the importance of their own value more. Male vs Female represented the resist to Western by the success of the Takarazuka and the emigration to imperial land such as Hokkaido and Mongolia. In the middle of the War, just emphasizing their own tradition was not enough to resist to Western. In Momotaro, the Invincible Navy, Japan actively participated in spreading their own tradition through Asia in the name of the building "Greater East Asia Co-Prosperity Sphere". As implied in the title "Momotaro", the Japanese legendary hero, Japan was described in this film as the special nation to liberate South East Asia from the Western colonization. In this context, the process of modernization in Japan can be summarized as the process to realize their own tradition by contacting with the Western.

유희로서의 영화

정수완(Jung Soo Wan) 한국영화학회 2005 영화연구 Vol.0 No.25

In this paper, I study the function of the film as a play in Japan of 1930s concentrating on the Tange Sazen and the Pot Worth a Million Ryo of Yamanaka Sadao. The Japan in 1930s was in the peak of the modernization. In modern society, Japanese audiences were willing to experience a new rhythm of the life- technological rhythm through the film. I analyze Tange Sazen and the Pot Worth a Million Ryo in narrative and style to show that the film functions as a play making a new rhythm. The plot revolves around the search for a pot that contains a map to a buried treasure worth a Million ryo. But the real purpose of this film is not o look for the pot. All the characters are just enjoying the game of the coking for the pot. Even they do not care if the pot is really worth of a Million ryo or not. In narrative, the film just show the way to enjoy the tory as a paly. Using the wipe, Yamanaka Sadao makes the film a play, too. Right after he wipe, the scene begins to tell the opposite story of the scene before. It is against the expectation of the audiences but it makes them to laugh. Considering that Yamanaka Sadao was free to make the films not in the major company but in his own independent small production "Narudakigumi" through the cooperation with his friends, he can also enjoy making the film itself as a play.

나루세 미키오 영화 속의 방랑하는 여성들

정수완(Jung, Soo Wan) 동국대학교 영상미디어센터 2013 씨네포럼 Vol.0 No.17

하야시 후미코의 소설을 영화화하면서 “여성영화” 장르를 발전시켜온 나루세 미키오의 <부운>과 <방랑기>는 여성의 방랑을 통해 여성과 일본사회의 관계를 조명하고 있다. 두 영화의 배경이 되는 1920년대와 1940년대는 일본이 국가주도의 근대화와 식민지 확대를 통한 일본제국 확립에 박차를 가하던 시기였다. 특히 이 시기 일본제국은 국수주의 강화를 위해 여성의 위치를 가정 내로 제한하고 그 안에서 아내와 어머니의 역할을 강요했다. 이와 같은 맥락에서 가정을 벗어나 자유롭게 떠돌며 아내와 어머니의 역할을 거부하는 여성의 방랑은 일본사회에 대한 저항이며 도전이라고 읽을 수 있다. 사생아와 성폭행 피해자라는 신분 때문에 처음부터 정상적인 결혼을 통한 안정된 생활이 불가능했던 후미코와 유키코의 방랑은 역사적, 사회적 격변기 속에서 여성에게 억압적인 기제로 작동하는 가부장제에 대한 저항이다. 또한 그녀들이 남자들과의 관계에 집착하는 것은 자기 타락의 성적 방종이 아니라 일본 사회가 여자에게 강요해왔던 억압에 대한 저항이다. 후미코는 방랑을 통해 이분법적인 젠더 구조 속에서 가정에 소속되었더라면 소멸될 뻔 했던 자기 개발의 기회를 통해 여성 작가로 재탄생했고, 유키코는 죽음을 통해 토미오카에게 식민지와 전쟁 패배에 대한 기억을 상기시킨다. 그녀들은 죽음을 통해서라도 안주와 정착이 아닌 끝없는 방랑을 지속했고 가부장제의 억압에 저항했다. Naruse Mikio is famous for making woman"s film based on Hayashi Fumiko"s novels. Drifting Clouds and Vagabond"s Song are the representative films made from Hayashi"s novels which showed the meaning of wondering woman in Japanese society. In prewar and post war period, the Japanese government was eager to build up the empire and to explore its colonies abroad. For strengthening the body of empire, the government commanded woman to place within home being mother and wife. The wondering woman who does not follow the role of woman as mother and wife can be read as a challenge to patriarchal society of Japan. It was impossible for Fumiko and Yukiko who was a child born out of wedlock and a survivor of sexual assault respectively to have a stable home with a marriage. For them, wondering was a way to resist to the oppressive patriarchism and obsessively clinging to men is not a self indulgence but a resistance to the Japanese society. Through wondering, Fumiko found herself as a novelist and Yukiko reminded Tomioka of the defeat of the war of Japan.

도에이(東映) 야쿠자 영화 연구

정수완(Jung Soo Wan) 한국영화학회 2002 영화연구 Vol.- No.19

The purpose of this study is to demonstrate how the Toei Yakuza film, especially "Nihon Kyokaku-den(The Story of Japanese Yakuza)" series starring Takakura Ken, devoted to strengthen the Japaneseness in the middle of the modernization/Westernization. The year of 1963 is said to be the turning point in the Japanese film history in the following four reasons: with the rapid decrease of the number of audience and the films in this year, the crisis of the Japanese film industry came to the surface; the TV jidaigeki(Japanese traditional costume film) which began in this year became the threat to jidaigeki films; in this year Toei Yakuza film featuring traditional Japanese Yakuza replaced Nikkatu Yakuza film featuring westernized Yakuza; the beginning of late movie show replaced the audience from woman and kid to man. In this circumstance, a new film genre which satisfy all characteristics mentioned above was the Toei Yakuza film. Then why the most Japanese and the mos masculine genre was required in 1960's? The economic success of Japan in 1960's made Japanese to regain the sense of superiority over West which lost by the defeat in war. At the same time, in this period, the resistance to West strengthened with the anti-Anpo movement. In this circumstance, Toei Yakuza film which deals with Japanese traditional value become a popular genre. The films take a oppositional stance toward the Japanese tradition and Western/Modern value: traditional good yakuza/ modern bad yakuza. These themes are expressed visually in films. While traditional good yakuza who wore Japanese traditional kimono made a good picture harmonizing with the Japanese traditional street and buildings, modern bad yakuza wore western style suit represented as a destructor of that harmony. It is why Japanese yakuza film can not be a real resistance to the Japanese society.

Saccharomyces cerevisiae에서 Pseudoalteromonas carageenovora 유래 Arylsulfatase 유전자의 표층 발현

조은수,김현진,정소아,김정환,김연희,남수완,Cho, Eun-Soo,Kim, Hyun-Jin,Jung, So-A,Kim, Jeong-Hwan,Kim, Yeon-Hee,Nam, Soo-Wan 한국미생물·생명공학회 2009 한국미생물·생명공학회지 Vol.25 No.4

P. carageenovora 유래 arylsulfatase 유전자(astA)의 효모표면발현 plasmid pCTAST(7.1 kb)를 구축하여 S. cerevisiae EBY100에 형질전환하였고, 선별된 형질전환체들을 YPDG 배지에서 배양했을 때 4-methylumbelliferyl sulfate를 분해하여 형광을 보였다. 이는 효모에서 arylsulfatase가 활성형으로 생산되었음을 의미하였다. S. cerevisiae EBY100/pCTAST를 플라스크 배양했을 때 arylsulfatase 활성은 galactose가 완전히 소모된 배양 48시간째 최대 활성인 1.2 unit/mL로 나타났으며 배양 상등액에서는 활성이 나타나지 않았다. 효모 S. cerevisiae의 세포표면에서 발현된 재조합 arylsulfatase로 제조된 agarose를 agar와 시판용 agarose와 함께 ${\lambda}DNA$ HindIII marker를 사용하여 DNA 전기영동 성능을 비교 실험한 결과, agar보다는 재조합 arylsulfatase 처리로 제조한 agarose가 이동성이나 분리능에서 우수하였으며, 시판용 agarose와 비교하여 이동성이나 분리능이 유사한 결과를 확인할 수 있었다. 본 연구의 결과, 효모 S. cerevisiae의 세포표면에서 발현된 재조합 arylsulfatase 효소를 이용하여 한천으로부터 전기영동용 고순도 친환경적인 agarose 생물 생산 공정에 적용 가능함을 알 수 있었다. In this study, the arylsulfatase gene (astA, 984 bp ORF) from Pseudoalteromonas carrageenovora genome was expressed on the cell surface of S. cerevisiae by fusing with Aga2p linked to the membrane anchored protein, Aga1p. The constructed plasmid, pCTAST (7.1 kb), was introduced to S. cerevisiae EBY100 cell, and yeast transformants on YPDG plate showed the hydrolyzing activity for 4-methylumbelliferyl-sulfate and p-nitrophenyl-sulfate. When S. cerevisiae EBY100/pCTAST was grown on YPDG medium, the arylsulfatase activity of cell pellet reached about 1.2 unit/mL, whereas no extracellular arylsulfatase activity was detected. The DNA ladder in agarose prepared from agar by this recombinant arylsulfatase showed similar resolution and migration patterns with a commercial agarose. This results revealed that arylsulfatase expressed on the cell surface of S. cerevisiae could be applicable to the economic production of electrophoretic-grade agarose.