2. 일반논문 : 알프레드 히치콕의 아내살해 영화

곽한주 ( Han Ju Kwak ) 한양대학교 현대영화연구소 2016 현대영화연구 Vol.12 No.1

‘서스펜스의 거장’ 알프레드 히치콕의 영화에는 아내살해가 곧잘 등장한다. 남편 또는 남성 파트너가 아내나 연인을 직접 살해하(려)는 영화가 < 레베카 >에서부터 < 토파즈 >에 이르기까지 7편이며, < 서스피션 >과 < 열차 위의 낯선 자들 >은 아내살해자가 나오지는 않지만 아내살해 주제를 전경화하고있는 영화들이다. 이들 9편의 영화는 모두 히치콕이 할리우드로 이주한 이후만들어졌다. 히치콕 영화 속의 아내살해 양상은 다양하다. 실제로 아내가 살해되는 경우가 있고 살해 시도가 실패하는 경우도 있다. 아내살해가 실행되는 경우는 < 레베카 >, < 이창 >, < 현기증 >에서처럼 살인이 숨겨져 있다가 뒤늦게 밝혀지는 경우와, < 나는 고백한다 >, < 토파즈 >처럼 즉각 노출되는 경우가 있다. 후자는 돌발적으로 아내살해가 일어나는 경우다. 또 < 오명 >< 다이얼 M을 돌려라 >처럼 아내살해 음모가 실패하는 영화들도 있다. 이러한 다양한 양상은 내러티브상에서 각기 다른 기능을 수행한다. 남편에 의해 살해되는 아내들은 부정을 저지른 아내, 재력이 많거나 ‘너무많이 아는’ 아내, 그리고 남편에게 부담이 되는 아내로 유형화할 수 있다. 이처럼 희생자는 남성의 권위를 존중하지 않거나 남성의 상징적 자리를 위협하는, 힘 있고 독립적인 여성들로서, 모두 남근적 여성들이다. 남편들이 남근적 아내들을 ‘죄지은 여성’으로 단죄하고 살해하는 것이다. 이런 가부장적 남성상이 등장하지만 아내살해 영화를 반여성적 영화라 할수는 없다. 오히려 희생되는 여성보다 살해하는 남성이 더 큰 죄를 짓는 문제적 인물들이며 이들은 대개 처벌받는 것으로 그려진다. 때문에 이들 영화는 가부장적 상징질서를 비판하는 영화라 할 수 있다. 아내살해 영화의 또 다른 특징은 아내살해를 객관적 사실로가 아니라 주관화된 사실로 제시한다는 점이다. 히치콕은 아내살해 자체를 탐구하지 않는다. 대신 아내살해를 접하게 되는 극중 인물의 반응, 그리고 그의 시점을 통해 영화를 접하는 관객의 정서적 반응에 관심을 기울인다. 이런 까닭에 히치콕은 살인을 관객이 동일시할 만한 주도적 주인공의 시점을 통해 보여준다. 그럼으로써 관객은 주인공의 시점, 그의 욕망과 불안에 의해 ‘굴절된’ 살인을보게 되어 주인공의 정서적 파장까지도 전달받게 된다. 이런 식으로 히치콕은 아내살해를 관객의 정서적 관여, 특히 서스펜스를 이끌어내는데 이용한다. 영화가 현실의 객관적 재현이 아니라 특정한 욕망과 불안에 의해 굴절된 주관적 재현임을 의식하면서, 관객의 정서적 관여를 극대화하기 위해 관객이 동일시할 인물의 시점을 통제하면서 내러티브와 스타일을 구성하는 것-이런 히치콕의 영화작법의 핵심을 아내살해 영화는 잘 보여준다. Family murder frequently appears in Alfred Hitchcock films. Particularly wife murder, a horrible crime that husband or male partner murders his wife or lover, is explicitly featured at least in his nine films from Rebecca(1940) to Topaz(1969). Wife murder in Hitchcock’s films varies in its narrative functions. Some wife murders are hidden for a long time as in Rear Window(1954)and Vertigo(1958), and some are exposed immediately as in I Confess(1953)and Topaz. Murder attempts in Notorious(1946) and Dial M for Murder(1954) eventually fail. Although Suspicion(1941) and Strangers on a Train(1951) do not feature wife murderers, they foreground the theme of wife murder. Hitchcock’s wife murder films share two main features. First, wives victimized by their male partners are, without exception, phallic women. Majority of them are unfaithful, others are rich and’know too much’. Wives who are powerful and independent are liable to be killed. This contributed to Hitchcock’s infamity as misogynist. His films nevertheless can be seen as a radical critique to the patriarchal symbolic order, because the wife murders are narratively punished because of their gender-biased crimes towards women. Second, wife murder is presented not as an objective event but as a subjectivized one. Hitchcock does not explore murder cases themselves. Instead he takes into account the characters’ and viewer’s emotional responses to the murder in his films. To this end he takes pains to orchestrate audience’s identification. Since wife murder is presented through the lens of character with whom the viewer identifies, the character’s desires and fears easily carry over to the viewer. In this way Hitchcock effectively draws emotional engagement from audiences. Hitchcock’ wife murder films exemplify the Hitchcockian strategies based on the orchestration of the character’s viewpoint with which the viewer identifies in order to maximize audience’s emotional engagement.

Quentin, the Narcissus Incarnate in William Faulkner`s The Sound and the Fury

( Mi Jeong Kim ) 한국현대영미소설학회 2012 현대영미소설 Vol.19 No.1

Caddy is often compared to Eve as the evil source who caused the male Compsons` loss of Eden by violating the forbidden tree, which is tragically represented by the eldest son`s suicide and the downfall of the Compson family. On the night of Dammudy`s funeral, the little girl Caddy climbed a pear tree to look in the window so that her three brothers could look up at the muddy seat of her drawers. Many critics assert that it emblematically foreshadows her sexual misconduct in the future that will trigger the gradual ruining of "the sterile Compson male line." However, this essay argues that what "Eden" signifies in the novel is the male Compsons` phallic fantasy of "total being" which their narcissistic monologues represent. Faulkner called it "the blind self-centeredness." It is epitomized by Benjy`s infant-like idiocy. Therefore, if Caddy is associated with the exile / fall from Eden by escaping the seemingly Edenic innocence, Caddy`s climbing up the tree should be read as the initial moment of her ex-orbitance stepping outside the Compson family`s dungeon-like ego-centricity suggesting new possibilities, rather than her sexual falling. In these contexts, if the condemnation of Caddy for being the very cause of her family`s fallen ruins is indeed based on her three brothers` narcissistic self-enclosed narratives, especially Quentin`s shattered monologue, this essay examines how Quentin fails to escape his fatally phallic narcissism which is symbolized by his irredeemably broken mirror, and thus how he fails to get the story of Caddy "right" in his distorted and shattered memories of her.

『날개 돋친 뱀』에서 나타난 D. H. 로렌스의 성적 욕망의 재현

오은영(Oh, Eun-young) 한국외국어대학교 외국문학연구소 2006 외국문학연구 Vol.- No.24

Many feminist critics have defined D. H. Lawrence's The Plumed Serpent(1926) as a representative "leadership" novel, filled with sexual and racial hierarchies. But femininity and masculinity presented in this novel are not so simple as those feminists have thought. The main reason for the complicated presentation of femininity and masculinity in the novel is that Lawrence constantly tries to value both sides of the conflict between spirit/body, man/woman, and Western civilized world/primitive world. According to Lawrence's double perspectives, neither Mexican primitivism nor Ramon's idealized leadership is a perfect and absolute alternative to modern Western civilization. Lawrence's greatest concern in The Plumed Serpent is not with the search for a primitive and masculine world either replacing the Western world or overthrowing the Magna Mater, but with the search for the coexistence of opposite worlds and of opposite values. Lawrence tries to modify the conventional meanings that the phallus evokes by incorporating its signifying structure into primitive Mexican Indian culture. Lawrence's notion of “phallic mystery" thus includes feminine attributes as well as masculine ones. Nonetheless, Lawrence's treatment of woman's sexual desire represented by Kate Leslie is problematic in that he is quite preoccupied with 'primitive masculinity' presented by Don Cipriano. In a sense, it is not wrong to say that Kate's desire as a woman functions only as a counterpart of Cipriano's male desire. Kate's sexual relation with Cipriano is described by (Lawrence's) male gaze and defined even by man's wishful thinking about sexuality. This is why many early critics problematized the sexual relationship between Kate and Cipriano. These views have built upon the critical tendency to identify the narrative voice and the authorial voice. In this paper I will examine the possible distance between the narrator and the author in describing Cipriano's 'phallic mystery.' This attempt will reveal the complexity of the text in which the author's masculine desire and his effort to deconstruct it coexist. It is true that Kate's sexual desire is not treated as seriously as Cipriano's 'primitive masculinity' in the novel. And yet, it is also true that the dominance of Cipriano's manhood does not last from start to finish. In the last four chapters of the novel, Kate's voice, which sounds very submissive and passive in the sexual scene of Kate and Cipriano, regains its independent and critical power. This novel is full of self contradictions and conflicts in presenting sexuality; it surely has the narrative voice preoccupied with man's desire, as many feminists point out, and simultaneously it has Kate's critical voice to undermine the narrative voice. Lawrence's presentation of sexuality in this novel needs to be understood in the context of his apocalyptic vision after World War I, which had driven him to desperately search for an alternative society. Thus, the complexity in presenting sexuality indicates that The Plumed Serpent succeeds in revealing the difficulty that the alternative vision might contain, rather than succeeding in producing an alternative vision to replace Western civilization.

Quentin, the Narcissus Incarnate in William Faulkner’s The Sound and the Fury

김미정 한국현대영미소설학회 2012 현대영미소설 Vol.19 No.1

Caddy is often compared to Eve as the evil source who caused the male Compsons’ loss of Eden by violating the forbidden tree, which is tragically represented by the eldest son’s suicide and the downfall of the Compson family. On the night of Dammudy’s funeral, the little girl Caddy climbed a pear tree to look in the window so that her three brothers could look up at the muddy seat of her drawers. Many critics assert that it emblematically foreshadows her sexual misconduct in the future that will trigger the gradual ruining of “the sterile Compson male line.”However, this essay argues that what “Eden” signifies in the novel is the male Compsons’ phallic fantasy of “total being" which their narcissistic monologues represent. Faulkner called it “the blind self-centeredness.” It is epitomized by Benjy’s infant-like idiocy. Therefore, if Caddy is associated with the exile / fall from Eden by escaping the seemingly Edenic innocence, Caddy’s climbing up the tree should be read as the initial moment of her ex-orbitance stepping outside the Compson family's dungeon-like ego-centricity suggesting new possibilities, rather than her sexual falling. In these contexts, if the condemnation of Caddy for being the very cause of her family's fallen ruins is indeed based on her three brothers’ narcissistic self-enclosed narratives, especially Quentin’s shattered monologue, this essay examines how Quentin fails to escape his fatally phallic narcissism which is symbolized by his irredeemably broken mirror, and thus how he fails to get the story of Caddy “right” in his distorted and shattered memories of her.