할리우드 영화의 베트남전쟁 재현

심경석 영미문학연구회 2005 안과 밖 Vol.18 No.-

어느 고물장수

심경석 샘터사 2016 월간 샘터 Vol.561 No.-

할리우드 한국전쟁 영화와 미국 여성의 재현: 국가와 여성

심경석 문학과영상학회 2015 문학과영상 Vol.16 No.2

This essay examines women’s representation and their role in the war effort in Hollywood’s Korean War films. Women encourage young men to enlist in the army and urge them to participate in the war as is shown in A Yank in Korea and I Want You. Both films reveal that they are crucial to awakening and celebrating young men’s masculine qualities like bravery, duty and honor. In particular, I Want You emphasizes their duty to protect children and women from the war against the communists. A woman banishes her brother-in-law at the family dinner when he complains about his duty in the war effort. Thus, as a transmitter of masculine culture, women represent what the patriarchal state dictates. A Minute to Zero reveals why women have to be contained at home because of their troublesome behaviors. As such they are deemed to be subjugated to male authority. As for the military nurses, the narratives emphasize their femininity rather than their independence and professionalism. Their freedom and agency are downplayed. The films construct nurses’ identity as women, not soldiers. M*A*S*H confirms that patriarchy, masculinity and the state are interwoven. As is proven in Major Houlian’s case, when a woman exercises her authority over a male as a superior officer, she has to suffer extreme punishment and humiliation, and even her military identity is denied. The military system dominated by males effectively marginalizes females and they can survive only by their sexual compliance and subordination to male desire. Indeed, the military/state system requires women to be naturalized into patriarchy.

레이먼드 챈들러의 탐정소설에 나타난 기사도 - 필립 말로우의 승리와 패배

심경석 영미문학연구회 1999 안과 밖 Vol.6 No.-

N/A

VIBRATION PATH ANALYSIS AND OPTIMAL DESIGN OF THE SUSPENSION FOR BRAKE JUDDER REDUCTION

심경석,이진희,박태원,조민형 한국자동차공학회 2013 International journal of automotive technology Vol.14 No.4

Brake judder is abnormal vibration, which is mainly generated by uneven contact between the brake disc and pad. The abnormal vibration from BTV (Brake Torque Variation) is transferred to the suspension and the steering system during braking. In this paper, judder simulation is carried out using a multi-body dynamic analysis program to analyze the relationship between judder and the transfer mechanism, which consists of the suspension and the steering system. In order to verify the analytical model, test results are compared with the simulation results. A sensitivity analysis is also carried out. In addition, an optimization method is presented for judder reduction, using the design of experiments.

기고논문 : 영화 『 이성과 감성 』 에 나타난 침묵의 소리

심경석 문학과영상학회 2000 문학과영상 Vol.1 No.1

How we can explain the recent popularity of Jane Austen and her commercial success in the film industry? Ang Lee`s Sense and Sensibility, revealing much about contemporary culture and taste, proves the potentiality of Jane Austen`s success in the post modern era. The film not only deals with the concerns of our own lives-romance and money- but also appeals to the audience`s modern expectations. The film characterizes deep influences of feminism overwhelming our contemporary society. Magaret is crucial to speaking the unspeakable voice in Austen`s repressed society, which subsequently enables Einor to question the validity of her society`s norms. Instead of expanding such a radical vision, however, the film focuses more on the revision of Austen`s hero to appeal to modern women`s expectations. In a sense, the film indulges in conservative feminism. Both Edward and Brandon turn out to be appealing characters shining with sensibility. Indeed, they are newly created, well balanced figure, that Jane Austen never thought of.

잊혀질 수 없는 기억: 할리우드의 한국전쟁 재현

심경석 영미문학연구회 2010 안과 밖 Vol.0 No.29

팀 버튼의 <찰리와 초콜릿 공장>과 그로테스크: 뒤틀린 몸과 자본주의

심경석 문학과영상학회 2013 문학과영상 Vol.14 No.2

Tim Burton fully understands the grotesque nature at the heart of Roald Dahl’s Charlie and Chocolate Factory; Dahl’s work emphasizes the ambiguity and duality of Wonka and exaggerates the body transformation of the children who are punished due to their greed and demeanor. As is indicated in Kayer’s work, the grotesque includes the odd, unnatural, bizarre, strange, funny, ridiculous, and caricatural. Indeed, Burton’s cinema represents Wonka’s introvert and trickish qualities emphatically and provokes uncomfortable laughter and fear. It also exploits terrifying, dark sides of the children and they meet their dooms through becoming deformed, grotesque bodies; greedy Augustus turns into a self-consuming artifact; overly competitive Violet expands into a horrible blueberry; extremely spoilt Veruca becomes “a bad nut.”; destructive Mike is shrunken. At the same time, Burton defamiliarizes capitalism and divulges their devilish, grotesque nature; Veruca’s father, a capitalist, forces his workers to find a golden ticket, which proves the painful, alienated situation of the laborers. He is eventually mocked by another capitalist, Wonka who creates the fantastic chocolate world. Thus the film confirms and critiques capitalism at the same time. The Oompa-Loompas, who jibe the children who indulge in consumerism also symbolizes the ugly nature of capitalism and colonialism. Thus the film deals with the sinister and macabre as well as provides the laughter and entertainment. expected by the target audience.

한국전쟁 참전병사와 느와르 영화

심경석 문학과영상학회 2016 문학과영상 Vol.17 No.3

Korean War Veterans and Film Noir This paper attempts to deal with Hollywoods’ representations of Korean War veterans in the context of film noir, which is the best frame to reveal their trauma, shock and exhaustion. These noir films show the veterans frustrated and alienated, and often drawn into criminality and violence. Futhermore, like their predecessors in World War II, they are considered potentially threatening to society. Indeed, as is shown in Anatomy of a Murder, Crime Against Joe, Man-Trap, and Strange Intruder, the veteran characters are prone to violence and mental dysfunctions. Even one character commits murder, which reflects society’s suspicion and dread towards veterans. In fact, the veterans’ feelings of loss and non-fulfillment are relevant to the post-war depression and the reorganization of American economy characterized by the increasing size of big corporations and the growth of their monopolies. The characters in Hatful of Rains are cognizant of shattering traditional values and of their being in a transitional period—“the age of the vacuum.” Under these circumstance, they yearn for Jeffersonian agrarian myth which ensures self-sufficiency, total independence and equalitarian society. Luke in Thunder Road expresses his strong desire to capture such mythical, idyllic times. Joe in Crime against Joe seeks to portray a woman with “warmth, humanity, wisdom, innocence” in his drawing, which epitomizes his thirsty for his ‘innocence lost’ before his war experience. Furthermore, the veterans are represented as non-heroic characters who are plunged into darkness and corruption. In particular, they are characterized by mental disturbances, fragility, and suffered from the trauma of war experience. As is in typical film noir, the returned soldiers are often emasculated and their marriage is sterile or on the verge of collapse. Nina and Laura in Man-Trap and Anatomy of a Murder seem to be out of control and present a psychic threat to their insecure husbands. These films also deal with the veterans’ helplessness in a mass and consumer society and they look stranded in nothingness. In addition, their economic future is bleak and gloomy. Social justice and law enforcement do not function properly, which accounts for their feelings of alienation and helplessness. Matt and Johnny wind up in a prison and in a mental institution respectively at the end of Man-Trap and Hatful of Rains. Indeed cynicism, pessimism and darkness pervade these films and their American dream is nothing more than an illusion.

해리포터 씨리즈: 유혹의 정체와 이데올로기

심경석 영미문학연구회 2006 안과 밖 Vol.0 No.20