이청준의 「벌레이야기」와 이창동의 <밀양> 비교 고찰

김은경 한국현대문학회 2023 한국현대문학연구 Vol.- No.69

In this article, the original novel(Bug Story) and the film(Secret Sunshine) produced by adapting it are compared from an equal point of view. This paper conducted discussions on the spatiality of both works based on the concept of three-dimensional ‘depth’. In other words, the perspective of discussing the spatiality of the two works is placed on the same horizon. The second point, the discussion on the issue of emotion, develops on the basis of this discussion on spatiality. Therefore, it cannot be concluded that the results of these discussions converge to the genre differences between the two works. Chapter 2 reveals the aspect of representation through spatiality, a prominent difference between the two works. Section 2.1. focuses on the abstract spatiality of Bug Story. In order to prove this, the discussion began on the premise that the depth of space can be intuitively captured from the novel. From this point of view, it was revealed that Bug Story minimizes the depth of space like a close-up shot of a movie, and only "characters" are represented in a magnified mirror. Section 2.2. revealed that Secret Sunshine exposes the singularity of reproducing its specific spatiality not only visually but also audibly. First of all, Secret Sunshine specifically reproduces the character and the space occupied by the character through the depth of the field, allowing a glimpse of the correlation between the volume of the space occupied by the character and the intensity of the emotion felt by the character. In addition, what this paper paid great attention to is that the specific spatiality of the city called “Milyang” is acoustically reproduced in Secret Sunshine. The first half of Secret Sunshine reproduces the specific world of living with various sounds and embosses the inner feelings of the heroine who exists in it. Chapter 3 discusses that the theme consciousness (the relationship between ‘Humans’ and ‘Providence’) is realized differently within the two works through the problem of emotion, which is the essential common feature of the two works. Section 3.1. discussed that the emotion of the main character in Bug Story are ultimately subject-oriented. The wife, the main character, puts the Humans and Providence in an alternative relationship, and eventually chooses to extinguish Human in order not to betray Providence(God). Through this, I read the distance between Humans and Providence. Section 3.2. discussed that the emotion of the heroine is object-oriented in Secret Sunshine. This was revealed through the analysis of Secret Sunshine's filming techniques and ‘mise en scene’, and in the process, it was discussed that the film shows through the image aesthetics that the relationship between Humans and Providence is close and easy to crack. Through the above discussion, this paper compared two works of different genres in the equal horizon, and as a result, it was possible to reveal the uniqueness of each of the two works as a novel and as a movie. 이 글에서는 원작소설(「벌레이야기」)과 이를 각색하여 제작한 영화(<밀양>)를 대등한 관점에서 비교하고 있다. 이를 위해 두 작품의 결정적 차이점(공간성) 및 공통점(감정의 문제)에 주목하였다. 본고는 두 작품의 공간성에 대한 논의를 모두 3차원적 ‘심도’ 개념에 입각하여 진행하였다. 이와 같이 두 작품의 공간성을 논의하는 시각이 동일지평에 놓이기에 그 논의의 결과가 단순한 장르적 차이의 문제로 귀결된다고 보기 어렵다. 감정의 문제에 대한 논의는 이러한 공간성에 대한 논의의 바탕 위에서 전개되므로, 그 결과 또한 장르적 차이로 수렴한다고 단정할 수 없다. 2장에서는 두 작품의 두드러진 차이점인 공간성을 통해 재현의 양상을 밝히고 있다. 2.1.절에서는 「벌레이야기」의 공간이 추상적인 점에 주목, 이를 입증하기 위해, 소설에서도 ‘공간의 심도’를 직관적으로 간취할 수 있다는 점을 전제하고 들어간다. 이러한 시각에서, 「벌레이야기」가 영화의 근접촬영처럼 공간의 심도를 최소화한 가운데, ‘인물’만을 확대경적으로 재현하고 있다는 점을 밝혔다. 2.2.절에서는 <밀양>이 그 구체적인 공간성을 시각적으로뿐만 아니라 청각적으로 재현하는 특이점을 나타내고 있음을 밝혔다. 우선 시각적으로, <밀양>은 인물과 그 인물이 점유하는 공간을 피사계 심도를 통해 구체적으로 재현하는바 그 피사계 심도 조절을 통해 인물이 점유하는 공간의 부피와 인물이 느끼는 감정의 강도 간 상관관계를 엿볼 수 있도록 한다. 여기에 더하여 본고가 크게 주목한 바는 <밀양>에서 ‘밀양’이라는 도시의 구체적 공간성이 청각적으로 재현되고 있다는 것이다. <밀양>의 전반부는 다양한 소리들로써 구체적인 생활세계를 재현하고 그 안에 존재하는 여주인공의 내면(감정)을 양각한다. 3장에서는 두 작품의 본질적 공통점인 감정의 문제를 통해 그 주제의식(인간과 섭리의 관계)이 두 작품 내에서 상이하게 구현되고 있음을 논의하였다. 3.1.절에서는 「벌레이야기」의 주요인물이 갖는 감정이 궁극적으로 주체지향적임을 논하였다. 주요인물인 아내는 자아와 신을 양자택일의 관계에 두고, 결국 섭리(신)를 저버리지 않기 위해 자아(인간)를 소멸시키는 방법을 택하는바, 본고는 이를 통해 인간과 섭리 간 거리를 읽고 있다. 3.2.절에서는 <밀양>에서 인물(이신애)의 감정이 대상지향적임을 논의하였다. 영화의 촬영기법, 미장센 등에 대한 분석을 통해 이를 밝혔으며, 그 과정에서 <밀양>이 인간과 섭리 간 관계가 긴밀하면서도 균열이 가기 쉬운 것임을 그 영상미학을 통해 보여주고 있음을 논의하였다. 본고는 이상의 논의를 통해, 장르가 다른 두 작품을 대등한 지평에서 비교하였으며, 그 결과 두 작품이 각기 소설로서 그리고 영화로서 가지고 있는 독자성을 밝혀볼 수 있었다.

이청준 소설의 매체 수사학적 특성 연구 - 이청준 「벌레이야기」, 영화 <밀양>, 드라마 <벌레이야기>를 중심으로 -

박상익 이화어문학회 2014 이화어문논집 Vol.33 No.-

본고는 이청준의 「벌레이야기」가 TV 드라마와 영화로 변주된 양상을 고찰하면서, 각각의 2차 텍스트의 변환에 개입한 수사적 상황을 검토하는 것을 그 목적으로 한다. 1차 텍스트인 「벌레이야기」가 지니고 있던 “배신감”이라는 핵심어는 TV 드라마 <벌레이야기>에서 “타인으로부터의 배신감”이라는 메시지로 변환시킨다. 이를 위해서, 1차 텍스트에 존재하는 타인에 대한 배신감을 잘 보여주는 보충적 사건을 더 읽기(Over-reading)하여, 2차 텍스트를 재구성한다. 반면 <밀양>은 1차 텍스트인 「벌레 이야기」의 메시지가 수사적 상황으로 인해 다소 모호하고 형이상학적으로 구성되었던 것과는 메시지를 보다 구체적으로 드러낸다. 그 결과 1차 텍스트가 지니고 있던 메시지를 더 강렬하게 전달하는 수사적 파괴력을 획득한다. 이렇게 각각의 텍스트가 지니고 있는 메시지들은 서로의 논의를 넘어서고 확장시키며, 텍스트에 내재되어 있던 자질들을 활성화시키거나 비활성화시킨다. 이러한 역동적인 상호 작용은 이야기를 만들어내고 이해하는 인간 능력의 위대함을 다시 한번 생각하도록 한다. This study is a comparison study between Yi Chung-jun’s short novel “Bug Story” and Bug Story(Television singleplay), Secret Sunshine(Movie), mainly focused on process of adaptation and rhetorical situation. To analyze process of adaptation and rhetorical situation, this study examines “Bug Story”, Bug Story(Television singleplay), Secret Sunshine(Movie). In short novel “Bug Story”, main theme is betrayal which God is an act of treason against one poor mother. But, this novel considerd problem what is the true forgive. On the other hand, in the Television singleplay Bug Story, that betrayal is changed betrayal which other people is an act of treason against one poor mother. Secret Sunshine(Movie) considerd between person and person. This people give one mother some help to get over the loss of her child.

소설의 영화화에 따른 서사성 변환 연구 : 「벌레 이야기」와 「밀양」을 중심으로

신익호(Shin Ik ho) 한국언어문학회 2015 한국언어문학 Vol.93 No.-

In Bug Story and Secret Sunshine, the main character Shin-ae's anguish and religious conflict are described in more detail than the incident which causes her child's miserable sacrifice. Seemingly, Shin-ae tries hard to overcome her despair with christian faith, but she strives to cope with her tragedy within the limitations of human ability. She is not sure of salvation through the christian faith. Conversely, she is obsessed with the idea that she can get over difficulties with her efforts and will, that is to say, through self-deification. She loses her lovely son, but does not give up on her life. Rather, she can support herself, having strong will and hope. Eventually, these efforts lead to the fictional religion. Others who have never experienced her religious conflict, have no right to criticize that she has developed a blessing-oriented faith. Shin-ae's failure of salvation is a result of the religious dogma. Also, it expresses that she is locked in struggle with her will and fictional faith due to the limitation of human ability rather than she apologizes people around her with agape. She has never experienced both self denial as a sinner and a sense of gratitude and repentance which are the essence of christian faith. For this reason, she is not a born again christian, but just a bug. This story not only educates the reader that false religious faith is serious, but also shows univeral sympathy that religious salvation can not solve easily the problems of the human condition. The original novel, Bug Story, and the movie, Secret Sunshine, have differences in characters, surrounding environment, method of narration, structure derived from different genres, thematic consciousness and ending plot, even though they have common factors such as the existential situation and theodicean problems. The first part of the movie describes how the main character's child is kidnapped and killed in the process of settlement in a remote town. This event is portrayed as the climax of agony and anxiety. In the latter half of the film, the mother of the child writhes in desperate agony and faces the existential situation with religious conflict. At the end, a postive life is implied with secret and hopeful light. The main character, Shin-ae, plays the part of a long-suffering wife who acts out a series of deviant behaviors such as a suicide attempt, wrath and cursing in protest toward God after the failure of forgiveness. She is the most round character by means of motion picture techniques. Though she had a good relationship with others and received God's word once, she becomes a person who does not communicate well with others. When she does not find solutions and just feels despair, facing agony and protesting God, believers urge her to recognize the Providence of God and God's will. In this respect, the theodiciean interpretation justifying agony explains that hardship and adversity resulting from sin can be resolved through atonement. However, art questions and defies the Providence of God and deals intensively with the existential situation that superficial religion can not save people in agony.

픽사의 서술 전략

이만식(Lee Man-Sik) 새한영어영문학회 2010 새한영어영문학 Vol.52 No.3

This paper explores the narrative strategy of Pixar that leads to its commercial success and critical acclaim through its nine films from 1995 to 2008: Toy Story, A Bug’s Life, Toy Story 2, Monsters, Inc., Finding Nemo, The Incredibles, Cars, Ratatouille and WallㆍE. Pixar’s films show familiar characters to us such as toys, ants, fish, cars and rats, which are different from Disney’s characters, such as Cinderella and Snow White, whose motif comes from fairy tale and myth. And they are presented from a surprisingly different point of view, for example, from the toy’s point of view in Toy Story and Toy Story 2, and from the fish’s point of view in Finding Nemo. This kind of reverse way of thinking about characters is reflected not only in the presentation of unthinkable characters such as a rat, Remy, as a cook in a famous restaurant kitchen in Ratatouille but also in terms of the good and evil confrontation between characters which has been the main storyline in Disney movies. In Pixar’s films, the distinction between good and bad is not clear. For example, Sid in Toy Story is an evil character in the toys’ perspective but just a naughty boy like every other young boys in the real world. Pixar’s amazing success comes from the diverse plots. The only critical failure of Pixar, Cars ironically proves this. Cars’s main plot is quite clear: Lightning McQueen finally understands the importance of journey as well as that of destination. However, the subplots of this film, such as the love story of McQueen and Sally and the rebirth of the community, Radiator Springs, are not convincingly presented. Pixar’s films have been continuously improved partly due to Pixar’s studio system, which releases one film every year maintaining quality.

이청준의 『벌레 이야기』 에 나타난 ‘용서’에 대한 고찰

강준수 한국문학과종교학회 2017 문학과종교 Vol.22 No.1

본 연구의 목적은 종교에 있어서 용서의 본질에 대한 문제를 탐구하는 것이 다. 이청준은 자신의 소설에서 삶의 의미에 대한 문제를 제기하는 경향이 있다. 『벌레 이야기』는 용서와 구원을 통해서 진정한 인간의 삶이 무엇인지를 독자들 에게 묻는다. 『벌레 이야기』는 관찰자가 각 장면을 선택하고 배열함으로써 사 건을 입증하는 방식을 취한다. ‘나’는 이 작품에서 발생하는 모든 사건들을 설 명하고, 검토한다. ‘나’의 증언에 따르면, 아내는 아이의 죽음을 잊어버리기 위 해서 종교에 귀의하지만, 무기력하게 종교의 희생자가 되었다. 『벌레 이야기』는 진정한 용서, 인간 존재, 그리고 인간의 존엄성에 대한 의문을 제기한다. 아 내는 고통스러운 현실을 잊어버리기 위해서 자살을 감행하지만, 그녀의 자살은 삶의 모든 것을 포기하는 것이 아니라, 그녀를 억압하는 관계와 현실로부터 도 피함으로써 현실에서 실존성을 찾고자 하는 것이다. 작가는 이 작품에서 억압적 이고 엄격한 종교를 제시하고 있다. 결국, 이청준은 인간 존엄성의 중요성과 도 덕적 가치에 바탕을 둔 양심을 강조하고 있다. The purpose of this paper is to examine the essence of forgiveness in religion. Chung-jun Lee tends to raise the question regarding the meaning of life in his novels. “The Story of the Bug” is a novel that asked readers what the real life of humanism is through forgiveness and salvation. “The Story of the Bug” uses a specific method in which an observer can testify events by selecting and arranging pieces of scenes. According to the testimony of ‘I,’ the wife converts to a religion in order to forget the death of her child but helplessly became the victim of the religion. “The Story of the Bug” raises questions concerning real forgiveness, human existence, and human dignity. The wife tried to commit suicide in order to escape from a painful reality. But her suicide was not the abandonment of everything but rather the attempt to actually exist in life while escaping from the relationships and reality that oppressed her. The writer shows the common scenario of oppressive and strict religion in this work. After all, Lee tries to discuss the importance of human dignity and emphasizes the conscience based on moral value.

구비설화 속에 배어 있는 노년의 삶과 이상적 희구

최원오 비교민속학회 2020 비교민속학 Vol.- No.71

This paper is an analysis of what they are looking for in their lives, targeting the elderly who appear in oral stories. It is considered that previous studies have been faithful to the analysis of the functioning of the elderly in general, and accordingly, how the elderly are perceived in oral discourse is systematically explained. At this time, previous studies have focused on the issues of old age and sex, the issues of old age and death, and the issue of old age and wisdom. However, when we pay attention to the fact that it is the life of old age, it is difficult to say that these problems essentially explained the life of old age. Under this consciousness of the problem, this paper analyzes the 'life of old age' from the perspective of the personal, family, and social relations of the elderly. Through the analysis, I discussed what ideal life is aiming for in life of old age and whether it can be practiced in modern society. 본 논문은 구비설화 속에 등장하는 노년을 대상으로 하여 그들의 삶에서 희구하고 있는 것과 그것이 현대 사회에서도 실천 가능한 것인지를 분석한 것이다. 선행연구들은 대체로 노인의 작중 기능 분석에 충실하였으며, 그에 따라 구비설화 속에서 노인이 어떻게 인식되고 있는가를 체계적으로 해명하였다. 이때 선행연구들은 노인과 성 문제, 노인과 후사 및 봉양 문제, 노인과 지혜의 문제 등을 공통적으로 주목하였다. 그러나 이런 논의들이 ‘노년의 삶’을 본질적으로 해명해 주었다고 보기는 어렵다. 선행연구들은 ‘노년의 삶’이 아니라, 노인의 서사적 기능, 특성 등에만 주목하였기 때문이다. 본 논문은 이러한 문제의식 하에, 구비설화 속 노인들이 놓여 있는 개인적, 가족적, 사회적 관계의 관점에서 ‘노년의 삶’을 분석하였으며, 그 분석을 통해 노년의 삶이 지향하고 있는 이상적 희구는 무엇이며, 그것이 현대사회에서도 실천 가능한 것인지를 논의하였다.

소설과 영화의 매체변용양상

전지은(Jeon Jieun) 한양대학교 수행인문학연구소 2010 수행인문학 Vol.40 No.2

This paper researches narrative transformation types of novels and movies focused on Bugs Story written by Lee Chungjun and Secret Sunshine directed by Lee Changdong. In multi-layered narrative media geography including visual media, novels and movies are acknowledged as individual narratives contained unique artistry beyond one way relation as story sources. To testify new influential relation of media shared narrative, this paper analyzes that the movie Secret Sunshineis not a regenerated narrative of the novel Bugs Story but unique work, which is a core of this paper. Each distinct and characteristic artistry becomes standards in analytical process. Because movies use different expression method compared to novels, they changes time to space and structure of memory to structure of scene. Also, from the beginning, movies choose different paths to novels in thematic level. Bugs Story and Secret Sunshinecontained lots of narrative differences compared to the other texts which naturally adhere to thematic distance. As this paper identified in the analysis comparing courses of different narrative methods with media of novels and moves, these (letters and image) can be fully acknowledged as independent texts required plentiful understanding and consciousness on media features. Likewise, frank and creative media transformation can open possibility of classical narrative media as novels lost popularity and thus seek new ways. This possibility can be only when narrative media including novels and movies contain concrete consciousness on their own media characteristic and aesthetic discrimination. It is the reason why the movie Secret Sunshine was acknowledged as a regenerated narrative of novel Bugs Story due to the unique work.