만주 웨스턴의 지정학적 구조 -포스트모더니즘에 대한 두 가지 해석-

김영일 ( Young Yiil Kim ) 한양대학교 현대영화연구소 2012 현대영화연구 Vol.8 No.1

The Manchurian Western exemplified through The Good, The Bad, The Weird (2008) throws questions as to the organization of time and space in cinematic texts, opening up issues of the geopolitics of Korea. Replacing the American west typified in such films as The Stagecoach (1939) and Red River (1948) to symbolize the frontier on expansion, Machuria sheds its geographical confines and bcomes an imaginary space where the colonial past and the neo-liberal present of Korea collide. As a product of genre hybridization, the wilderness of Manchuria depicted in the film becomes un-grounded and uncertain to be a floating signifier free from the role of representing the real. Polysemous post-modern phenomenon has arrived on the locality to re-locate Manchuria on the map of power, capital, competition, sustainable reproduction and consumption pattern. In this sense, the textual space of the post-modern flexibility is a reflection of neo-liberal capitalism which, according to David Harvey, reproduces itself through uneven geographical development where an absolute border between the nations yields to the imaginary sections divided to fit the need of the late capitalism. However, it does not mean that the text solely contributes to depicting the change in the geopolitics of Manchuria caused by the shift in economic infrastructure. As Scott Lash points, postmodernism is figural as well, demanding psychological energy rather than intelligent signification to forestall its close link with the economy. It means that the Manchuria connects to the past of dictatorial development of industrialization in the 1960 in Korea, on the basis of analogy that works in the realm of psychological energy, since it was also a backdrop of the films categorized as a genre simply known as the Continental genre. The Manchuria explodes to become an analogical metaphor of the forced development, repression, and the marginalized identities. In the end, it holds back the Manchuria as a space imagined for the need of the late capitalism. The post-modern text is two folds, one reflecting the demand of the economic infrastructure, and the other exploding to become a metaphor, which compete, rather than co-exist in harmony, to dominate the text.

경계 사이의 민족주의와 한계공간 -한국형 블록버스터의 민족주의 담론과 세계화의 역학에 관한 연구-

김영일 ( Kim Young Yiil ) 한양대학교 현대영화연구소 2017 현대영화연구 Vol.13 No.3

한국형 블록버스터를 중심으로 발화한 민족적인 정서는 한국영화를 지배하는 가치체계로서 한국영화와 할리우드를 구분하고, 그 위에 민족적인 것과 그렇지 않은 것의 정치적이며 역사적인 구분을 배치함으로, 한국영화를 민족적인 것을 표상하는 것으로 만들었을 뿐 아니라, 또 그러한 의무를 한국영화에 부과하기도 한다. 한국영화와 민족주의는 한미자유무역협정과 스크린쿼터 축소 논쟁을 배경으로 등장한 것으로, 일차적으로는 <쉬리>, <실미도>, <태극기 휘날리며>와 같은 영화의 성공이 의미하는 한국영화의 양적인 성장과 그로부터 비롯하는 경쟁력과 깊은 관계를 갖는 것이다. 산업으로서 한국영화의 할리우드 영화에 대한 선전을 의미하는 민족주의는 한국영화와 할리우드 영화를 구분하고, 한국영화에 대하여 한국문화를 보호하는 특정한 역할을 부여함으로써 가능한 것이다. 스크린쿼터 축소와 한국 영화시장 개방이 생산한 한국형 블록버스터 민족담론은, 문화적인 것과 경제적인 것, 또 국가적인 것과 세계적인 것을 절충하는 한계공간 안에서도 지속적으로 작용하는 힘이다. 이것은 한계적 공간이 호미 바바 등이 주장하는 것처럼, 균열과 해방을 가져오는 것은 아니라는 사실을 암시하는 것이다. 혼종성을 특징으로 하는 한계 공간으로서 한국영화의 민족주의는 국가가 추구하는 문화적인 경계의 모호함을 노정(露呈)하는 것 같지만, 그러한 모호함은 한국영화가 왜 민족적인 정서를 담보하는 도구가 되어야 하는가에 대한 비판으로 발전하지 않는다. 세계화는 자유무역과 사람들의 자유로운 이동, 문화의 교류를 강조하면서 국가의 경계를 무력하게 만들고, 때로는 국가주권의 권위를 훼손한다. 자연스럽게 한계공간이라고 밖에 정의할 수 없는 혼종적인 공간이 등장하지만, 국가 주도의 특정한 정치적 이념이 부재한 상태에서도, 민족주의는 작용하는 것이다. Nationalism sparked by Korean blockbusters distinguishes Korean films from Hollywood, and as a value system dominates Korean films. The division of Korean and non-Korean films based upon political, historical and industrial specificity becomes a basis of Korean films as national. Emerged from the background of the Korea-US Free Trade Agreement and the controversy of reducing the screen quota, the success of Korean blockbuster films exemplified by their quantitative growth comes to represent the contributive role the Korean cinema can play to the whole of Korean economy; how such films as Swiri, Silmido, and The Brotherhood of War can be vital to the development of Korean economy. Although Thirst is borrowing an unfamiliar genre from Western cinema, it comes to signify innovation and creativity for Korean cinema in general. By doing so, Thirst plays a contributive role to Korean cinema. Although it may vary depending on the perspective of interpretation, Thirst has symbolism and metaphor for the critical gaze for the uncertainty of post-modern life presented through unfamiliar characters on the brink of becoming vampires. Yet it disappears in front of the duty of the cinema as national entity. Nationalism of Korean blockbuster created on the cusp of the national being cornered by globalization succeeds to dominate. As liminal space termed by Homi Bhabha, nationalism of Korean blockbuster is a mixture of political ideology and economic protectionism that is heavily tinted with the goals set by free trade and neo-liberalism. Despite its hybrid characteristics, nationalism of Korean blockbuster continues to exist. This implies that liminal space does not bring about cracks in national politics. Globalization undermines the boundaries of the state, sometimes questions the sovereignty of the state, creating liminal space of national and trans-national. However. nationalism works even in this age of liminality.

트라우마 영화의 관점에서 고찰한 조폭영화의 폭력성과 IMF 외환위기

김영일(Kim Young-yiil) 한국영화학회 2016 영화연구 Vol.0 No.70

Trauma is a phenomenon reconstructed through a medium such as cinema rather than an empirically existing event. This is to say that a theoretical concern of trauma cinema should move from representation of trauma to how trauma is produced. The insistence on whether cinema can represent truth of trauma, like other theories of realism, can limit interpretation of trauma in specific historical moments of traumatic events, while ignoring its political consequences ramifications. The aim of this research is to study organized crime movies in 2000s from the point of view of trauma cinema that takes into account trauma cinema as a way of constructing meaning of trauma, and to analyze how depiction of violence in such crime movies are processing trauma of IMF crisis only to produce political ideology regarding masculinity. Violence in the organized crime movies puts male bodies at the centre stage but not in a way to restore a traditional type of masculinity but only to produce flexible subject that is exposed to the gaze of others thus in a constant state of narcissism and forced self introspection. In Mean Streets(2006), Sang-doo, the main character, exerts violence at the same is a victim of institutional violence, caught up in the loop of violence that is emanating from and asserted upon him. Yet his body is smooth, muscular, and attracting the gaze to be a moving force of the plot predicated upon an aspiration of a man with a meagre background to become visible therefore successful. What is more important is that his body is a part of the network of power that facilitates domination and subjugation. His body being at the giving and receiving end of violence is an essential element of power relations. His undetermined position in relations to violence works to make power flow from one end to the other. The undetermined and flexible body, a part of new power relations, signifies an emergence of subjectivity that Neo-liberalism refutes to honor contract between labor and capital and life-time employment. The body that can adjust itself in relations to power represents subject that has to navigate the uncertain territory of labor market that is open to competition without protection from contractual agreement by government and business. The organized crimes movies in the 2000s such Mean Street and Bloody Tie starts with wounded and violated men as a symptom of traumatic experience of IMF crisis, but end up constructing new subjectivity required for Neo-liberalist economic and market environment, that is, flexible without determined positions and class identity ascribed to them by the state.