『위험한 관계』의 각색과 한국각색영화의 문화 혼종성

정문영 ( Chung¸ Moonyoung ) 세계문학비교학회(구 한국세계문학비교학회) 2020 世界文學比較硏究 Vol.72 No.-

본고는 쇼데를로 드 라클로가 쓴 서간체소설 『위험한 관계』(1782), 이 원작을 재탄생시키는데 공헌한 1980년대 할리우드 각색영화, 스티븐 프리어스가 각색한 <위험한 관계>(1988)와 밀로스 포만이 각색한 <발몽>(1989), 그리고 21세기 한류 혼종적 문화상품으로 각색된 이재용의 <스캔들: 조선남녀상열지사>(2003)와 허진호의 <위험한 관계>(2012)에 대한 상호읽기를 각색연구, 한류연구, 그리고 이 연구들의 핵심 개념인 혼종성 논의를 통해 전개한다. 18세기말 대표적인 리베르탱 소설 『위험한 관계』는 억압적 체제로부터 개인의 자유와 정신의 해방을 위한 투쟁이라는 “리베리티나주”의 종말을 다룸으로써 서구의 근대 주체성을 탐구한 소설로 성과가 높이 평가된다. 그러나 라클로는 강력한 여성 리베르탱을 창조했지만, 남성 리베르탱의 헤게모니적 남성성에 기초한 근대 남성 주체성 탐구를 위해 여성 리베르탱을 사라지는 중재자로 배제시킨다. 1980년대 두 할리우드 각색영화, 프리어스의 <위험한 관계>와 포먼의 <발몽>은 원작에 대한 다시-보기를 통해 근대 주체성 탐구에서 배제된 여성 주체성을 차이로 원작에 기입한 각색으로 원작의 재탄생에 공헌을 한다. 이재용의 <스캔들>과 허진호의 <위험한 관계>는 서구 근대성을 탐구하는 원전과 서구 근대 여성 주체성 논의로 다시-보기를 한 두 할리우드 각색영화들을 각색하는 과정에서 혼종의 공간을 창출하여 새로운 사유방식으로 차이를 기입함으로써 아시아 근대 주체성과 아시아 근대 여성 주체성 탐구를 시도한다. 혼종화의 전복적 정치성을 구현함으로써 한국 각색영화들은 서구 텍스트에서 희생자로 주변화된 여자를 각색한 두 아시아 여자들을 통해 서구 텍스트들이 시도하지 못한 미래로의 열림을 향한 탈주와 진정한 리베르티나주의 완성과 아시아 근대적 주체성을 탐구하는데 성공한다. This paper attempts an intermedial, intertextual, and intercultural reading of a series of texts: the source text of Pierre Choderlos de Laclos’s Les Liaisons Dangereuses (1782), two Hollywood adaptation films of Stephen Frears’ Dangerous Liaisons (1988) and Miloš Forman’s Valmont (1989) which made a crucial contribution in regenerating the novel into one of the most popular French classics, and two Korean adaptation films, Lee Jae-yong’s Untold Scandal (2003) and Hur Jin-ho’s Dangerous Liasons (2012) which are Korean pastiches of Hollywood films in the age of globalization, focusing on the concept of cultural hybridity, one of the theoretical keywords of Hallyu studies and adaptation studies. Laclos’s Les Liaisons Dangereuses has been highly celebrated for its exploration of Western modern subjectivity through the critical analysis of degenerated libertinage in the French nobility society right before the French Revolution at the end of the 18th century. But Laclos is concerned only with modern masculine subjectivity in terms of hegemonic masculinity, which results in marginalizing a threatening female libertin as a vanishing mediator for a male libertin’s completion of libertinage and his masculine subjectivity. The Hollywood adaptation films succeed in foregrounding the marginalization of the woman and in exploring modern female subjectivity, by voicing what the source text silences through the process of adaptations. And finally Untold Scandal and Dangerous Liasons can succeed in tracing lines of flights towards a new life, completing the libertinage spirit of the source text and exploring Asian modern subjectivity through the Asian women who have been destined to be victims in the source text and Hollywood films. The two Korean adaptation films fully demonstrate the political functions of the cultural hybridity which bring the possibility of a third, hybrid space for a creation of a new becoming as well as the resistance of the Hollywood cinema system.

YouFree에서의 개인 컨텐츠 관리 시스템

정문영 ( Moonyoung Chung ),강성주 ( Sungjoo Kang ),최지훈 ( Ji Hoon Choi ),구경이 ( Kyong-i Ku ),김원영 ( Won-young Kim ),최완 ( Wan Choi ) 한국정보처리학회 2007 한국정보처리학회 학술대회논문집 Vol.14 No.2

본 논문에서는 데스크탑 및 웹 사이트에 분산된 개인 컨텐츠 관리 방법을 제안한다. 웹 2.0 과 웹 어플리케이션에 대한 관심이 높아지면서 다양하고 분산된 개인의 모든 컨텐츠를 통합 관리해주는 시스템에 대한 요구가 높아지고 있다. 본 논문에서는 다양하고 분산된 개인의 컨텐츠를 데스크탑에서 관리해주고, 이를 개인용 서버를 통하여 웹에서도 이용할 수 있게 해주는 개인 컨텐츠 관리 시스템을 제안한다. YouFree 의 개인 컨텐츠 관리 시스템은 데스크탑과 웹 사이트에 분산된 개인의 컨텐츠를 종류에 관계없이 통합된 모델을 이용해서 관리해주고 사용할 수 있게 해주는 서비스이다.

한국 영화에서 사라진 이주여성 찾기

정문영(Chung, Moonyoung) 계명대학교 여성학연구소 2018 젠더와 문화 Vol.11 No.1

본 논문은 글로벌화 시대 한국영화가 지향해야할 영화를 소수영화로 간주하고, 이주여성을 등장시키는 1990년대 조폭영화 <파이란>(2001), 2010년대 남성멜로드라마 <마이 라띠마>(2013), 그리고 2010년대 여성 스릴러 <미씽: 사라진 여자>(2016)를 선정하여 그 성과와 전망을 분석한다. 이주의 여성화 시대를 맞이하여 이주여성들은 한국의 근대화 과정에서 등장한 젠더화된 하위계층인 ‘근대화의 하녀’를 대체하여 ‘글로벌화의 하녀’로 등장하고 있다. 영화 속에 이들은 주체가 아니라 글로벌화 프로젝트 과정에서 낙오한 남성들의 좌절과 절망의 비애감을 감당하는 글로벌화의 하녀로서의 서비스를 마친 뒤 없어지기로 된 환타지 대상들로 존재한다. 그러나 이 영화들의 성과는 이주여성들이 소수로서의 조건으로만 존재할 수 있으며, 그렇기 때문에 그들은 사라진 존재가 될 수밖에 없다는 진실의 발견과 이를 토대로 소수영화 창조를 지향하고 있다는 점에서 찾을 수 있다. This paper attempts to read a Korean noir and gangster film (Jo-pok film) in the 1990s, Failan (2001), a male melodrama in the 2010s, Mai Ratima (2013), a female thriller in the 2010s, Missing (2016), by focusing the presences of migrant women, as Korean films in the age of globalization toward a cinema of minorities. According to the recent phenomenon of feminization of migrants, migrant women as “maids of globalization” have come to replace the gendered subalterns of “maids of modernization” in Korean society and films. The selected films illustrate that migrant women are treated as fantasy objects that are supposed to disappear after finishing their services to take care of Korean male losers’s frustration and despair. But these films demonstrate significant accomplishments that they find the fact that migrant women can exist only in the conditions of minority and they try to create Korean films based on the fact toward a minor cinema in the global era.

Pinter의 Betrayal : 메타영화적 메타연극

정문영(Moonyoung Chung) 한국현대영미드라마학회 1999 현대영미드라마 Vol.- No.11

SaaSpia 에서 다중테넌트 지원을 위한 질의 처리 방법

정문영 ( Moonyoung Chung ),양경아 ( Kyungah Yang ),구경이 ( Kyong-i Ku ),원희선 ( Hee Sun Won ),허성진 ( Sung Jin Hur ) 한국정보처리학회 2011 한국정보처리학회 학술대회논문집 Vol.18 No.2

본 논문에서는 다중 테넌트를 지원하기 위한 도구를 이용한 질의 생성 방법 및 질의 처리 방법, 그에 따른 페이지 자동 생성 방법을 제안한다.

들뢰즈의 고전 영화와 현대 영화의 사이

정문영(Moonyoung Chung) 한국비평이론학회 2011 비평과이론 Vol.16 No.1

This paper reads Accident(1966), the second collaborative film between Joseph Losey and Harold Pinter, drawing on Deleuze’s film theory. Most of its critical readings emphasize the circular closed structure of Accident which opens with a car accident and ends with a mirror image of the accident, achieving structural perfection. But this reading emphasizes gaps, interstices between differentiations in its structure which is itself heterogeneous, by breaking with the classical cinema’s concern for the sensori-motor schema. The gap functions as the outside, i.e., the power of the whole in modern cinema, proliferating new direct time-images instead of merging with the indirect representations of time in classical cinema. Thus this paper reads Losey and Pinter’s Accident as a new becoming between Deleuze’s classical and modern cinema. According to Deleuze, with naturalism time makes a very prominent appearance in the cinematographic image, but only grasping the negative effects of time. Thus Accident as a naturalistic cinema can only construct new direct time-images by breaking with the naturalistic, i.e., psychoanalytic concern for the closed signifying chain of words and images in the screenplay. And Accident also as a classical cinema of perception-images can only finds its status as a modern cinema of free indirect subjective by reflecting Stephen’s subjective perception-images in a camera-consciousness. Thus this paper examines the emergence of new time-images such as opsigns and sonsigns, flashback memory-images and the attainability of the free indirect subjective, from the gap between the two cinemas of Accident as classical and modern cinema. Especially it focuses on Stephen’s search for lost time, i.e., truth in his mindscreen, i.e., flashback forced by Anna who unceasingly produces signs that must be deciphered, exercising sexual politics at the failure of the sensori-motor schema.

공연 교수법을 통한 영미드라마 가르치기

정문영(Moonyoung Chung) 한국영미문학교육학회 2006 영미문학교육 Vol.10 No.1

This paper attempts to explore important pedagogical issues of teaching drama in English literature classes in Korea and propose an option for teaching drama through performance teaching. Under the circumstances of so-called "crisis" in both English literature studies and education, drama currently comes to catch attention as the most useful literary genre. Thanks to its features as a "minor" and non-pure genre, especially drama in English literature is regarded as an useful instrumental one for affiliations with threatening others which have caused the "crisis", such as film, cultural studies, and practical English education. In this respect, the alternative pedagogy proposed in this paper attempts to translate overall educational goals into attainable specific ones, by coping with the societal demands for a major paradigmatic shift in building up educational goals and curriculums of English literature. It incorporates drama project of communicative approaches of language learning, spectatorship training, critical pedagogy, and literature and humanities education into English drama classroom. With an expectation of constructing a new paradigm of English literature education in the dynamic "stage of performance" where conflicting goals interact each other, this paper illustrates an option for teaching drama through performance teaching.

극작가의 스크린-플레이: 핀터의 〈하인〉

정문영(Chung Moonyoung) 한국현대영미드라마학회 2011 현대영미드라마 Vol.24 No.1

This paper examines The Servant(1963), the first collaborative film between Joseph Losey and Harold Pinter, focusing on a series of plays which structure the film. The collaboration changed both Losey’s and Pinter’s artistic reputation and world. The Servant proved to be the film that brought Losey the international reputation as one of the great masters of naturalism in the cinema and Pinter the chance to seek for a line of flight from the oedipal impasse in writing his plays. Especially Pinter’s screen-play as collaborator not as author(master) with Losey leads him to find not a competitive Oedipal politics but a micropolitics, a politics of desire. The central concern of The Servant can be regarded as the power struggle between the master and the servant. But the film goes beyond the politics of class and becomes a naturalistic film of impulse-images which present the originary world that exists and operates in the depths of the real Victorian environment of Tony’s house. The impulse-images of The Servant are generated by a series of violent plays and skillful mirror plays, such as doubling or tripling, distorting, fragmenting, magnifying, diminishing images, especially on the ensnaring convex mirror. Plays in the film gradually become violent male homosexual games from which Tony and Barrett cannot exit. Deleuze indicates that we can look for a salvation in the women in The Servant who are outside the originary world of men. By appropriating Deleuze’s seeking for a line of flight in the women, this paper argues that Susan and Vera always remain inside the originary world instead of its outside, although they are forced to disappear from the world after playing the roles of mediators for men’s game. That is, they will explode the world from its inside and open a new beginning from the implosion. Thus, from his first screen-play with Losey, Pinter can find his concomitant passions for film and not just politics but also sexual politics and he can liberate himself from his oedipalized room.

매카시즘과 미국 텔레비전 저널리즘의 현대 정치 영화: < 굿 나잇 앤 굿 럭 >

정문영 ( Moonyoung Chung ) 한국아메리카학회 2016 美國學論集 Vol.48 No.2

This paper reads George Clooney`s Good Night, and Good Luck(2005) as a modern political cinema on McCarthyism and television journalism. It argues that Clooney`s film, as his homage to Orson Welles` Citizen Kane(1941), can be regarded as the more appropriate film which supports Deleuze`s discussions on the politics realized in the modern cinema of direct time-images than Citizen Kane. By demonstrating that Clooney`s use of television journalist Edward R. Murrow`s speech as the framework of the film and techniques such as his specialized use of depth of field, reverse shot, and camera-consciousness are effective strategies to handle the problems found in Deleuze`s reading of Citizen Kane, this paper evaluates Good Night, and Good Luck as one of the most successful modern political films. It concludes that the film induces spectators as seers to look for new meanings and lines of flight preserved in the sheets of the past. And it also leads us to create a new paradigm of journalism realized in the third direct time-image which concerns time as series.

다중 테넌트 지원을 위한 액티비티 기반의 워크플로우 설정 방법

정문영 ( Moonyoung Chung ),원희선 ( Hee Sun Won ),허성진 ( Sung Jin Hur ) 한국정보처리학회 2011 한국정보처리학회 학술대회논문집 Vol.18 No.1

본 논문에서는 다중 테넌트를 지원하기 위한 액티비티 기반의 워크를로우 설정 방법을 제안한다. 이를 위해서, 다중 테넌트가 하나의 워크플로우 인스턴스를 사용할 때, 액티비티 기반으로 워크플로우를 테넌트에 맞게 설정하는 방법과, 워크플로우 액티비티를 별도의 메타데이터로 관리하는 방법을 제공한다.