영화의 시각효과와 정신분석의 관계성 연구 -장 뤽 고다르의 <경멸_Le Méris>을 중심으로-

김석원,김성호,kim, Seok-Weon,Kim, Seong-Ho 한국디지털정책학회 2020 디지털융복합연구 Vol.18 No.10

본 연구는 영화의 시각효과와 정신분석의 관계성을 장뤽 고다르의 <경멸(Le Méris), 1963>을 중심으로 분석하고자 한다. 고다르는 <경멸>에서 영화 제작에 참여하는 사람들과의 관계에서 발생하는 소통의 문제를 해결하기 위해서 통역자를 설정했다. 하지만 통역자의 역할은 있지만 정확한 의사소통 자체가 불가능하다는 것을 보여준다. 고다르의 의도는 관객이 단순히 영화를 바라보는데 그치는 것이 아니라, 영화의 내용에 적극적으로 참가라는 것을 바라고 있다. 이 연구의 의미는 프로이드와 라캉의 정신분석에 대한 이론을 토대로 장뤽 고다르의 영화 <경멸>에 참여했던 영화 제작자, 감독, 작가, 배우들과의 관계, 그리고 영화에서 보이지 않는 참여자들의 갈등 관계를 감독은 어떤 방식으로 시각적으로 재현했는지 분석한 것에 의미를 두고자 한다. The study focused on Jean-Luc Godard's <Le Méris, 1963> about the relationship between visual effects and psychoanalysis of the film. Godar set up an interpreter for communication between the scenario adaptors and producers, producers and directors, producers and interpreters, and assistants in <Le Méris, 1963> However, the role of an interpreter is based on the premise that although there is an interpreter, accurate communication is impossible. Such a break in communication is used as a strategy to clearly clarify Godar's own direction while revealing the difficulties of filmmaking as the gap between the two sides in filmmaking becomes clear. Based on Freud's theory of psychoanalysis, the meaning of the study is to analyze Jean-Luc Godard's relationship with filmmakers, directors, writers, actors and how the director visually reproduces the conflict among the invisible participants in the film.

언캐니, 아버지의 이름과 북한 영화 - ‘태양아래, 2016’를 중심으로 -

김석원 ( Kim Seok Weon ),민경현 ( Min Kyoung Hyoun ) 한국사진학회 2021 AURA Vol.- No.47

The study focused on Sigmund Freud's "Uncanny" theory and Jacques Lacan's "Name of the Father" theory. The purpose of this study was to examine the inner side of the characters through the theory of psychoanalysis along with the reality of North Korea. The important thing about this movie is that the North Korean authorities intervened to promote the movie, which depicts an ideal life in an ostensibly ideal country. The movie costs North Koreans a lot to realize their ideal world. It also recorded the cruelty, misery and repressive environment of North Korea. "Under the Sun, 2016," the title of the film, accuses the oppressed governance structure that leads to Kim Jong-il and Kim Jong-un in the reign of North Korea's sun, Kim Il-sung. Kim Jong-un is revered as the father of the people by the North Korean people in a decisive sense, but in reality, he only shows an ugly father. Recalling the fact that the film director is a Russian director, it is an opportunity to reflect on the Stalinist era of the Soviet Union through North Korea, and it proves that North Korea is an oppressive and cruel regime. Recalling the fact that the director of "Under the Sun, 2016" is a Russian director, it is an opportunity to reflect on the Stalinist era of the Soviet Union through North Korea, proving that North Korea is an oppressive and cruel regime.

그로테스크로 바라본 극장국가 북한연구 - <태양 아래, 2016>를 중심으로 -

김석원 ( Kim Seok Weon ),민경현 ( Min Kyoung Hyoun ) 현대사진영상학회 2021 현대사진영상학회논문집 Vol.24 No.1

The study defines Russian director Vitaly Mansky’s documentary film “Under the Sun, 2016” as a totalitarian North Korean theater country and analyzes the reality of grotesque. The direct background of writing the paper was that grotesque had various implications, but there were not many specific studies that applied it to North Korean films. Under the Sun, 2016, which is the main ingredient of the study, is a documentary film that exposed the madness of North Korean totalitarianism during a year with an 8-year-old girl named Li Jin-mi living in Pyongyang. What’s important about the film is that despite the nature of documentaries having to record facts accurately, North Korean authorities have been involved and directed in everything, including scenarios and actors. Because of this situation, everyone in the movie looks awkward, and the set scenes feel too beautiful and clean. In addition to this fact, the director emphasized the scene by including off-camera instructions from Communist Party officials with their cast members. In conclusion, the analysis of North Korea’s < Under the Sun, 2016 > as a grotesque by Bachin reveals that North Koreans are dwarfed and oppressed under the rule of Kim Il-sung, Kim Jong-il and Kim Jong-un, who are at the center of North Korea’s tyrannical politics. In the last scene, the guide cries while answering Lee Jin-mi how she feels about joining the boys’ group. You can read Lee Jin-mi’s inner thoughts in this scene. The guide thinks and talks about good things, but Jin-mi answers that she doesn’t know much. Through the pure words of delicacies, which do not know what a good thing is like, the “best country in the world” that the North Korean society wanted is not seen. Among the characteristics of Mikhail Bakhtin’s grotesque, laughter plays an important role in overcoming the suppressed fear, and Li Jin-mi (representative of North Koreans) is crying over Kim Jong-un’s suppressed fear. The North Korean government is ironically telling us through ‘Under the Sun, 2016’. North Korea is a happy country where its people have nothing to laugh about but freedom to cry alone, and North Korea itself explains it as a grotesque country. The video, disguised as a happy image that North Korea is trying to show, implies a depth of fear that is hard to fathom in the spirit of North Koreans.

아메바 간농양으로 진단에 이른 인간 면역 결핍증

김석원 ( Seok Weon Kim ),권혁춘 ( Hyeok Choon Kwon ),남승우 ( Seung Woo Nam ),최종경 ( Jong Kyung Choi ),정주원 ( Joo Won Chung ),장동원 ( Dong Won Jang ),박수연 ( Soo Yoen Park ) 영남대학교 의과대학 2017 Yeungnam University Journal of Medicine Vol.34 No.1

Amebic liver abscess (ALA) is the most common extraintestinal manifestation of amebiasis. Amebiasis, a parasitic infection caused by Entamoeba histolytica, used to be a prevalent protozoan disease in Korea, however, with an improving sanitary system, it has been among very uncommon etiology of liver abscess. A recent report suggested that ALA is an emerging parasitic infection in human immunodeficiency virus (HIV)-infected patients even in areas where the disease is not endemic and recommended HIV screening in patients in areas where ALA is not endemic, particularly those without history of travel to a disease-endemic area. We report on two patients who were admitted for treatment of ALA and then diagnosed as HIV infec-tion. We also reviewed the etiology and characteristics of ALA in our hospital during the last 5 years.

앗제의 초현실주의 사진과 아카이브 연구 - 앗제와 발자크의 인간희극을 중심으로 -

김석원 ( Kim Seok Weon ) 한국사진학회 2023 AURA Vol.- No.51

This study examined Jean Eugene August Atget, who recorded the appearance of modern Paris from the late 19th century to the early 20th century, as an important part of surrealist photography and documentary photography in world photography. Accordingly, the characteristics of Jean Eugene August Atget's surrealist photographs and documentary photographs were fully examined. Jean Eugene August Atget's lifelong amateur career and becoming a writer regardless of his will leads to a problem of discourse and criticism on photograph. Jean Eugene August Atget, Balzac, H. de are meaningful in that they pursued a realistic world despite the differences between photography and fiction. This study is meaningful in that it explored the entrance to a new reason for 'human life/record' rather than trying to settle the cultural and dictionary definitions of Jean Eugene August Atget, Balzac, H. de.

시각예술에 나타난 공정한 이미지에 관한 연구

김석원(Kim, Seok-Weon) 동서미술문화학회 2016 미술문화연구 Vol.8 No.8

연구자는 이미지 왜곡이 없고 편견 없는 사회, 이미지의 다양성이 존재하는 시각예술의 문화적 현상을 연구하는데 목적을 두었다. 우리의 문화적 현상은 주변의 과도한 이미지의 홍수속에서 살고 있다고 해도 무방하다. 우리나라 사회를 포함해서 아프리카 등을 포함한 저개발 국가는 우리에게 왜곡된 이미지를 대중매체가 부추긴다. 이미지의 편향과 왜곡 현상은 대중들에게 고정관념 등 편견을 낳게 한다. 이를 해결하기 위해 연구자는 ‘공정한 이미지’를 통해 편견 없는 사회는 무엇인지 규정하고자 하였다. 연구의 방법은 이미지에 관한 기원을 중심으로 미술, 사진, 문화, 영화에서 ‘공정한 이미지’와 ‘공정하지 않은 이미지’의 사례를 중심으로 살펴보았다. 신의 입장에서는 이미지를 모방하는 것 자체가 공정성에 어긋났다. 우상은 역사적으로 이미지란 용어가 탄생하기 전에 등장했고 그 이후 이미지를 대신하는 초상 또한 초기에 특권계층만 제한적으로 사용되어서 ‘이미지의 공정성과 평등성’에 위배된다. 연구자가 시각예술에서 ‘공정한 이미지’를 추적하는 과정 중에 설정한 ‘토테미즘의 공정성’은 토테미즘이 완전하지는 않지만 ‘우상파괴주의(공정하지 않은 이미지를 파괴)’를 실천한 행위로 이해되기 때문이다. 푸생의 그림에서 이미지의 주위에서 환호하는 사람들은 잠재된 ‘인간의 집단적 욕망의 투사’를 드러낸다. ‘토테미즘은 이미지의 가치를 공정’하게 생각했는데 그 이유는 친구와 친척들 사이에서 하는 놀이로 인식하고 설정된 이미지를 통해서 사회적, 대화적, 변증법적인 관계를 맺으려고 노력했기 때문이다. ‘가면의 평등성’은 축제에 사용한 가면의 이미지를 통해서 신분과 출신이 사라지고 익명의 세계가 된다는 점, 사회적 위선을 제거하고, 모두가 평등한 상태로 몰입하게 된다는 점에서 가면은 이미지의 공정성으로 인도한다. ‘토테미즘의 공정성’과 ‘가면의 평등성’은 놀이와 축제를 통해서 억눌린 인간의 욕망을 드러내고 이미지의 공정성을 지향한다. 이미지의 공정성을 담보로 한 ‘문화 인류학적 영화’ 중 장루쉬의 <미친 지도자들, 1955>는 저개발 국가 사람들이 이미지의 피해자, 혹은 이미지의 객체가 되는 현상에 대한 대안으로 해석된다. 저 개발 국가 사람들이 아무런 이유 없이 선진국들의 목적에 이용당하는 피사체로 전락해서는 안 된다. 그들이 객체에서 주체로 바뀌어 대등한 관계에서 ‘공정한 이미지’를 실천하는 것은 다큐멘터리 영화에서 하나의 대안적 방법으로 작동하는데, 시각예술에서 공정한 이미지를 구현한다는 점에서 시사하는 부분이 많다. The study placed a purpose to investigate prejudice-free society with no image distortion and the cultural phenomenon of visual arts where there are diverse images. Nowadays, people are living in a flood of excessive images surrounding us. The mass media leads people to distort images continually in Korea and undeveloped countries including Africa. Deflection and distortion of image lead people to be prejudiced, having stereotypes. To solve this problem, the study tried to define what unprejudiced society is first through ‘fair image’ and looked at cases of ‘fair image’ and ‘unfair image’ in art, photography, culture, and films based on the origin of image. From God"s point of view, it would be unfair to imitate images itself. The word, ‘idol’ has appeared historically before the word, ‘image’; and the word, ‘portrait’ to replace ‘image’ had been initially used only for limited privileged class; so it deviates from ‘fairness and equality of image’. Fairness of totemism was analyzed as a practice of ‘iconoclasm(destroyed unfair image)’, though not perfect during the process of tracking ‘fair image’ in visual arts. People cheering around the image in Poussin"s painting reveals a potential ‘projection of man"s collective desire’. ‘Totemism thought the value of image were fair’, as they had tried to have social, interactive, dialectical relationship with friends and relatives, recognizing it was a play with image. ‘Equality of masks’ leads to fairness of image through the image of masks at festivals, as identity and origin disappears and people all immerse themselves in an equal state at an anonymous festival, removing social hypocrisy. ‘Totemism fairness’ and ‘equality of masks’ are revealing repressed human desires through plays and festivals, aiming at fairness of image. Jean Rouch"s 〈Crazy leaders, 1955〉 as ‘cultural anthropological film’ was analyzed as an alternative for the phenomenon that people in undeveloped countries were depicted as just victims or objects. People in undeveloped countries should not be used as the object to be exploited for the purpose of developed countries without a reason. Therefore, the study suggested that it was a practice of ‘fair image’ as one alternative that an equal relationship changed from the object to the subject shows in documentary film.

영화 <하얀 리본>의 폭력에 관한연구 - 문화인류학과 정신분석 이론을 중심으로 -

김석원 ( Kim Seok Weon ) 현대사진영상학회 2017 현대사진영상학회논문집 Vol.20 No.1

This study researches various “nature of violence” seen in the film < White Ribbon (2009) > by Michael Haneke. The direct reason to start this study was that the term “violence” in everyday life contains various implications, but that there aren`t many specific studies. In verbal sense, the term violence refers to different concept according to the one who says the word, and in the words shared by attacker and victim, it refers to opposite concept. “White Ribbon”, the major subject of study is a film set in Northern Germany before WW1. The film contains verbal and physical violence as a black education. Haneke explored the “root of evil” which penetrates the film with such education, connected violence in modern family culture with the origin of German fascism and caught the link of violence. This became the clue to historically interpret the relationship between German fascism and family culture, and even expand such idea to the problem of European society. As for the theoretical tool, the study examined Rene Girard from cultural anthropological approach, and confirmed the influence of violence to human psychology from psychoanalysts such as Sigmund Freud and Jacques Lacan to Slavoj Zizek. As for the “root of evil” which is the background of violence, philosopher Hannah Arendt came to help. Five fathers in the film resort to verbal and physical violence in front of family and public place in common. In this part, Michael Haneke said in an interview with Mongrel media about the connection of his film to current issue of Europe regarding the verbal violence as below. There is nonstop fascism in France, Austria, Germany, everywhere you look, in how people treat each other. The verbal violence they use. They don`t treat the person as a person but as someone to be manipulated: this is daily fascism. According to Rene Girard`s logic, violence of father is delivered to children as the form of “violence reciproque”. The interesting part is that excluding the accident where the doctor fell from horse because of rubber band among the violent accidents that children plotted, there was no direct physical violence against adults. It can be interpreted as children who are used to violence and discipline of adults are not assured enough to face the adults. Also, it is another problem that the children`s crime is very close to realistic violence occurring in society. As the result, according to Lacan`s psychological analysis, there was sadistic Jouissance of father, the center of symbolic authority in film “White Ribbon”. To children, father`s authority is transcendental power which they cannot come close to. The influence of suppressive violence in church, school and family to man was traced. As for the result, the crime of children occurred without any ethical awareness or guilty conscience. Children who are the being of instable ego boundary are too conscious of others and use violence to others because their ego boundaries are unclear. Therefore, fathers are completely responsible for children turning into ugly criminals.

문화 인류학적 영화의 공정성에 대한 연구

김석원(Kim, Seok-Weon) 동서미술문화학회 2018 미술문화연구 Vol.12 No.12

이 연구는 문화 인류학적 영화에 나타난 공정성을 중심으로 다큐멘터리 영화에서 가해자와 피해자에 대한 담론이 어떻게 구축되는지 살펴보았다. 연구자가 언급하는 공정한 시각은 어느 한쪽의 시선에 의해서 타자의 모습이 변질되는 것이 아니라 가해자와 피해자 모두 균형 있게 다루려고 했다. 아울러 이미지의 공정성, 다큐멘터리의 공정성을 문화 인류학적 영화가 실현할 수 있다는 가능성을 살펴보았다. 이 연구의 초점은 다큐멘터리의 공정성을 실현하기 위한 문화 인류학 영화의 가능성을 조사했다. 조슈아 오펜하이머 감독의 <액트오브 킬링>은 역사적 사실을 영화의 절묘한 조합을 통해서 문화 인류학적 다큐멘터리의 새로운 가능성을 열었다. 또한, ‘역사적 트라우마’의 새로운 재현 가능성을 제시했으며, 진실을 탐구하고 추적하는 전통 다큐멘터리가 아닌 ‘상상의 다큐멘터리"를 만들었다. 이 연구의 의미는 영화의 재현적 서사 장치를 활용하여 대량학살의 재현 불가능성에 도전하고, 다큐멘터리와 픽션의 결합으로 진실을 추구하며, 가해자와 피해자의 화해는 윤리적인 측면과는 별개로 ‘중립적인 측면의 공정성’을 확보했다는데 의미가 있다. This study examines how the discourse on the perpetrator and the victim is structured in the film. Cultural anthropological film, which is the background of the study, tried to deal with fairness because it lacked a well-balanced study of the perpetrators and victims of documentary films. The fair viewpoint that the researcher refers to was that the view of the batter was not altered by the gaze of either one, and both the offender and the victim tried to deal with it in a balanced way. The order of the study is that of Joshua Oppenheimer"s <The Act of Killing>, starting with the movie Duch, which is the first clue to the anthropological film, Rithy Panh <Master of the Forges of Hel> The "Look of Silence" has repeatedly analyzed the perpetrators" interviews from the victim "s family through the victim" s family, Adi. The focus of this study was to examine the possibility of cultural anthropological film to realize the fairness of documentary. The conclusion of the study is summarized as follows. <The Act of Killing> presented a new possibility of cultural anthropological documentary. The meaning of <The Act of Killing> opened up new possibilities of cultural anthropological documentary through the exquisite combination of historical facts and presented a new possibility of "historical trauma". Joshua Oppenheimer has created an "imaginary documentary" that is not a traditional documentary that explores and tracks the truth. The meaning of this study is to challenge the impossibility of reproducibility of the mass genocide by using the reproducible narrative device of the film, pursue the truth by the combination of documentary and fiction, and the reconciliation between the perpetrator and the victim is" It is meaningful that we have secured the fairness of the side.

괴테의 ‘사티로스’ 연구 - 그로테스크에 묘사된 웃음을 중심으로 -

김석원 ( Kim¸ Seok-weon ) 충남대학교 인문과학연구소 2021 인문학연구 Vol.60 No.3

이 논문은 괴테의 사티로스를 중심으로 그로테스크의 특징 중 웃음과 희극성을 들여다보았다. 괴테의 『사티로스, 1773』에서 초기의 괴테는 이 신화적 인물에 수반되는 우상화, 리비도, 결혼생활의 불안, 신성 모독과 함께 ‘사티로스 극(satyr play)’을 재창조했다. 사티로스의 상대는 은둔자인 프로메테우스인데, 프로메테우스의 신화에서 인간을 도운 영웅이지만 사티로스 극은 사티로스를 모욕한 죄로 오히려 군중에게 잡혀 처형당할 처지에 있다 살아나는 희생양 역할을 한다. 기존의 신화와 다르게 역으로 인간에게 배척당하고, 익명성을 강조했다. 중요한 점은 괴테에게 프로메테우스가 중복적으로 존재하지만 해석 방법의 차이가 드러난다는 점이다. 괴테의 경우 그리스 신화에서 제우스의 아들은 헤르메스이지만 ‘가짜 신화’에서 사티로스가 제우스의 아들로 행세한다. 괴테의 의도는 리사라그의 언급처럼 사티로스적인 원인과 결과의 부조리를 이용하여 “부정적인 인류학, 웃음의 인류학”을 창조했다. 사티로스의 외형적인 부분은 괴테에게 인간과 동물이 혼합된 돌연변이처럼 그로테스크한 속성이 드러난다. 괴테는 미하일 바흐친이 정의한 그로테스크의 희극, 웃음의 다양한 뉘앙스를 지닌 정의에 근접하며, 두 사람 모두 ‘사티로스’는 빅토르 위고가 그로테스크한 특성을 정의한 ‘인간 짐승의 역할’을 한다는 데 의미가 있다. This paper looked into laughter and comedy sex among the characteristics of grotesque, centering on Goethe and Satyros of Nietzsch. In Goethe's ‘Satyros’, 1773, Goethe reinvented the satyr play, along with the idolization, Libido, the anxiety of marriage and blasphemy that accompanies the mythical figure. Satyros' opponent is hermit Prometheus, a hero who helped humans in the myth of Prometheus, but Satyr at Play the role of a resurgent victim who is caught and executed by a crowd for insulting Satyros. Contrary to the myths of the past, he was ostracized by humans and emphasized anonymity. The important thing is that the Prometheus exists in duplicate for Goethe, but the differences in interpretation are revealed. In the case of Goethe, in Greek mythology, Zeus' son is Hermes, but in "Fake Myth," Satyros acts as Zeus' son. Goethe's intention created "negative anthropology, anthropology of laughter," using the absurdity of the causes and results of satiros, as Lissarrague's mentions. Nietzsche's "Die Geburt der Tragödie, 1872" sets Prometheus as the protagonist of a tragedy that helps humans in the Greek mythology, and Victor Hugo connects the tragedy as the protagonist seeking salvation. Nietzsche's Grotesque phenomenon is revealed in the Dionysus festival's 'Satyros.' Satyr at Play is a kind of improvisation, and Satyros not only transforms itself into a choir, dancer and actor, but also induces “deindividuation” in the relationship between the Dionysus God and the human. The outward part of Satyros reveals grotesque properties like mutants that both Goethe mix humans and animals. Goethe are close to the grotesque comedy defined by Mikhail Bakhtin, justice with various nuances of laughter, and 'Satyros' is both meaningful in that Victor Hugo plays the role of a 'human beast' defining grotesque characteristics.

영화‘나쁜 남자(Bad Guy)’연구 - 욕망 이론과 언캐니를 중심으로 -

김석원 ( Kim Seok Weon ) 한국사진학회 2021 AURA Vol.0 No.46

The researchers analyzed the film "Bad Guy,2001" based on Jacques Lacan's Desire Theory and Sigmund Freud's Uncanny theory. The purpose of this study is to analyze their psychological state using psychoanalysis as a theoretical tool in the psychological analysis of the love that arises from the relationship of the protagonist in the movie "Bad Guy,2001". In addition, the film was diagnosed from a critical point of view in the analysis process. In "Bad Guy,2001" which deals with sex centered on men and women, Kim Ki-duk violates universal sentiment. In the interpretation of psychoanalysis, the cold season satisfies desire through Zen painting and follows the principle of pleasure. Kim Ki-duk does not consider Sun-hwa's body to be dirty and the process of overcoming pain as a purification ritual. It is considered fate for ordinary female college students to be dirty at the bottom of society. Reminding that there is no absolute truth when watching "Bad Guy,2001" from the audience's perspective, I think it is meaningful that the movie paradoxically expresses the unreasonable pathological phenomenon that occurs in Korean society. Kim Ki-duk says the concept of true love is possible when you overcome mental and physical pain.