영화적 기억과 문화적 정체성에 대한 연구 : Post-Korean new wave cinema를 중심으로 = Cinematic Memory and Cultural Identity

다국어 초록 (Multilingual Abstract)

This article explores relationship between cinematic memory and cultural identity. Traditionally, memory is assumed as the very core of identity. Memory forms the fabric of human life, establish continuity of life, it gives meaning to the present as each moment is constituted by the past.
The collective remembering of specific culture is process of constructing of collective identity. Above all, cinema effect on this process. Then, what is the relation of collective memory and cinema? Cinema does not offer real experience, but this image offer individuals the opportunity of remembering the past and has the potential to produce possible future, and to provide strategies for opening up the dominant history and disclosing the rupture. As a result, cinema can become device of cultural memory. Cinematic memory is outside the avenues of formal historical discourse yet is tangled with cultural identity.
The object of this dissertation is specify cultural identity of Contemporary Korean people through the survey of representation of past and memory in 'Post-korean New Wave Cinema'. Post-korean New Wave cinema is defined as the cinema that is appeared after Korean New Wave Cinema. This cinema is emerged at social unrest at that time(in the middle of 1990s), for example, shock of IMF, dislocation of masculinity, falling of collective framework. Cinematic reaction to this social unrest is appearance of nostalgia cinema, time-travelling cinema, mourning cinema of the past, so forth. This is process of redefining of cultural identity, and is makinghistory new. This dissertation contends that the newly mobilized forms of identity is result of strikingly shift of conjuncture of korea.
The chronotope of Post-korean New Wave cinema is the time of superimposition. In this chronotope, The past and the present is exist at the same time. And the structure of feeling is melancholy, sentiment of loss. But this chronotope and structure of feeling can be the passionate endeavor of remaking the identity.
Firstly, this dissertation focussed on representation of traumatic memory in these cinema. Traumatic memory is the memory that is resistant to symbolic order, so this memory is 'the Real' in the sense of Lacanian psychoanalysis. But In contemporary korean cinema, this traumatic memory is assimilated into dominant history by process of mourning. This is process of negotiating the antagonistic relation of society and become the strategies of writing history. Secondly, nostalgia is prevalent in these cinema. This is the result of the collective experience of uncertainty and anxiety of future. Here two kinds of nostalgia are distinguished: the restorative and the reflective. Specially, restorative nostalgia is expression of crisis of masculinity that has dominated korean society. Nostalgic past that is stylized in these films shows the audience who they are, what they about, and wither they go. The recovery of the past is part of the process of constructing masculine identity.
The focus of reflective nostalgia is not on the recovery of the past but on the meditation on history and passage of time. The cinema of reflective nostalgia is based on the sense of distance. These nostalgia discover the past in order to awake ourselves. In this nostalgia, the past and the present open up multitudes of potentialities, multiple planes of consciousness.
Nostalgia is triggered crisis of modernity. The progress of modernity could be harnessed to a long term certainty through the attitude of nostalgia. Thus, nostalgia is double of modernity. The difference is that whereas modernity tends to push into, and thereby create the future, nostalgia push into, and thereby creates, the past. So, Nostalgia in these contemporary korean cinema, regardless of the type of nostalgia, they are negotiating of past and future in process of modernity.
Lastly, this dissertation focus on true politics of memory. In this politics, problem of repetition and awakening is very important. Because the experience of how we are embedded in historical continuity is the core of modern historicism. Benjamin's concept of repetition , suspension of historical continuum, and awakening form an appropriate antidote to this modern position. For Benjamin, truth lies on the side of antihistorical stasis, whereas history is always "false", a narrative of victor who legitimates his own final triumph. So, In contrast to modern historicism and the discourse of victors, the truly politics of memory is to appropriate the past in so far as the past already contains the future. We have to cut through the continuous flow of historical development and make tiger's leap into the past. In this context, this dissertation discuss the contemporary film, and find out the possibility of cinematic memory.

목차 (Table of Contents)

• 목차
• I. 서론 = 1
• 1. 문제제기: 영화적 기억과 정체성의 관계 = 1
• 2. 분석의 대상: Post-Korean New Wave Cinema = 8
• 3. 논문의 구성 = 16
• II 정서구조와 크로노토프 = 18
• 1. 추방과 치환 사이에서: 상실감과 우울의 정서구조 = 19
• 2. 남성의 실패 = 24
• 3. 이중인화의 크로노토프 = 28
• III 과거를 애도하기 = 36
• 1. 판타지로서의 민족 = 36
• 1-1. 쫓겨난 과거 = 36
• 1-2. 두 개의 죽음 사이에 놓인 과거 = 40
• 1-3. 민족의 원인 = 43
• 1-4. 과거와의 화해와 희생적 자살: <공동경비구역 JSA> = 48
• 2. 대중기억과 역사의 재생 = 56
• 2-1. 풍경의 아름다움과 공감의 과거: <아름다운 시절> = 60
• 2-2. 무능한 응시: <흑수선> = 64
• 2-3. 역사는 아름답다: <박하사탕> = 70
• 2-4. 희생적 무의식과 역사의 재생 = 74
• IV 모더니티와 향수 = 78
• 1. 향수-욕망과 나르시시즘적 퇴행 = 83
• 1-1. 과거시제로서의 여성 = 85
• 1-2. 텍스트의 무의식과 향수: <인정사정 볼 것 없다> = 87
• 1-3. 히스테리로서의 향수: <친구> = 91
• 1-4. 시간의 고통에서 물러나기: <반칙왕> = 94
• 2. 향수-기억과 현재를 반성하기 = 98
• 2-1. 가족 로맨스와 사라진 매개자: <동감> = 99
• 2-2. 타자화된 과거: <파이란> = 104
• 2-3. 모더니티와 향수, 그 길항적 관계 = 108
• V 깨어나기 = 114
• 1. 반복의 역사와 기억의 정치학 = 115
• 2. 부정적 환각에서 깨어나기: <카라>, <오버 더 레인보우> = 123
• 3. 실패한 사랑의 반복: <번지점프를 하다> = 127
• VI 결론 = 130
• 참고문헌 = 135
• ABSTRACT = 147