한국 독립영화 2세대의 영화미학론

이효인(Yi, Hyoin) 한국영화학회 2018 영화연구 Vol.0 No.77

한국 독립영화는 1980년대 중반부터 1990년대 초반까지 특정한 활동을 하였다. 당시 한국의 민주화 운동과 연대하는 한편 새로운 영화 비평을 추구하였던 것이다. 이를 1970년대 독립영화 활동과 구분하기 위하여 독립영화 2세대라고 부르고자 한다. 이 시기 활동은 영화운동론과 영화미학론으로 나눠서 살펴볼 수 있다. 또한 전자는 영화 ‘운동’으로 후자는 ‘영화’운동으로 부르면서, 이러한 운동을 주도한 사람들을 이 글에서는 편의상 운동진영과 비평진영으로 부르기로 한다. 하지만 이 글은 영화운동론을 거의 다루지 않을 것이며, 영화미학론을 주로 다룰 것이다. 독립영화 2세대의 활동은 『프레임 1/24』, 『열린영화』, 『레디고』, 『민족영화』, 『영화언어』 등의 잡지와 『새로운 영화를 위하여』 등의 번역서를 통하여 파악할 수 있다. 특히 영화미학론은 15호까지 발간된 『영화언어』를 분석 대상으로 삼아야 한다. 운동진영과 비평진영은 서로 경쟁하거나 협력하면서 이 시기 한국영화의 개혁을 위해 활동하였다. 영화언어는 영화학과 영화비평 영역에서 작가주의, 신형식주의, 스타일 비평 등을 추구하였다. 반면 민족영화 등은 리얼리즘 비평을 추구하였다. 하지만 리얼리즘과 관습적인 영화에 대한 두 진영의 생각은 서로 달랐다. 이러한 이 시기의 활동은, 이후 『영화언어』 리더들이 부산국제영화제 창설 활동에 집중하게 되고, 민족영화 주도 인물들 또한 활동의 변화를 보이면서, 1990년대 초반 한국영화계의 변화와 함께 막을 내리게 된다. 그리고 그 다음 세대 비평가들이 대중영화와 장르영화에 대한 관심으로 비평의 축을 옮기면서 한국 영화비평계는 새로운 단계에 진입하게 된다. Korean independent films have had specific activities from the mid 1980s to the early 1990s. At the time, it was pursuing a new film criticism while being in solidarity with the Korean democratization movement. It is called the second generation of independent film in order to distinguish it from independent movie activity in the 1970s. This period can be divided into film movement theory and film aesthetics. In addition, the former refers to the ‘movement’ of the film and the latter to the movement of the ‘film’, and those who have led these movements are referred to as the movement group and the criticism group for convenience. This article, however, will hardly deal with the theory of film motion, and will deal mainly with film aesthetics. The activities of the second generation of independent film can be grasped through magazines such as Frame 1/24, Yeolrin Younghwa(Open Cinema), Ready Go, MinJock Younghwa(National Cinema), (A Film Quarterly of Theory & Practice, Film Language). In particular, film aesthetics should be analyzed for Younghwa Eoneo. The Movement group and the criticism group competed or cooperated with each other and worked for the reform of Korean films during this period. Younghwa Eoneo pursued new formalism, Authorism and style criticism in the fields of film and film criticism. On the other hand, the MinJock Younghwa pursued realism criticism. But the two group’ thoughts on realism and conventional narrative and style were different. Since 1992, the leaders of Younghwa Eoneo have focused on the organization of Pusan International Film Festival and leaders of MinJock Younghwa quit their activities. Their activities ended in the mid-1990s with changes in the film industry. And as the next generation of critics shift their focus to the attention of popular films and genre films, Korean film critics are entering a new stage.

〈미몽〉, 신여성 비판을 위한 기획

이효인(Yi Hyo In) 한국영화학회 2011 영화연구 Vol.0 No.49

This paper analyzes Sweet Dream(Dr. Yang, Junam, 1936, 48 min) as the result of collaboration between Japanese policy and Korean male elites in order to critique modern girl. This film which had been noted as the oldest film in that time was discovered in 2005. Sweet Dream was produced by Japanese Wakegima Shujiro who was the CEO of Kyungsung Studio. The heroine Aesoon is not powerful and active vamp but is the typical vamp who can destroy men. This type of heroine as typical vamp had not appeared in the history of korean films from the start to 1936 besides Aesoon. Thus this paper tries to interpret the signs of socio-cultural and define historicity that connected with Sweet Dream. While Choi Dokkeon, the scenario writer of Sweet Dream was famous for the popular novel writer and the director of DongYang theater that was the biggest theater company of Korea, but Yang Junam, director of Sweet Dream was a newcomer director. So it’s possible to think that the main subject and narrative would be made by Choi Dokkoen. The popularity of this film was due to the heroine who had never been in the screen of that time but could be seen in the popular novels. This film has the main story composed of erratic married woman with the robbery scenes and car chase scenes which were the exiting to audiences. The audience could be satisfied vicariously through heroine Aesoon and see her punished. This is the proof that Sweet Dream reflects the important factors of Japanese and Korean popular culture. The critique of modern girl was concerned with the women policy and the movie policy of Japan and Korean male elites responded to these Japanese policies. Because they didn’t have the vision of independent nation-state so they didn’t want to lose the vested power of gender and tried to use modern girl as the attractive factor of popular cultural product.

〈집없는 천사〉와 〈미가헤리의 탑みかへりの塔〉의 비교 연구

이효인(Yi Hyo In) 한국영화학회 2010 영화연구 Vol.0 No.44

This paper analyzes Homeless Angel(1941) and Tower of Migaheri(1941) comparatively. These two films were produced at the same time in Korea and Japan. Homeless Angel(by director Choi In-kyu) and Tower of Migaheri(by director Shimizu Hiroshi) also dealed with orphans and social pariahs. The two movies has been recommended by the Japanese Ministry of Education, but the recommendation of Homeless Angel has been canceled later. In spite of this fact, it could be speculated the relationship of the production of two films and the indirect support of policy makers in Japan. When the movies came out at the beginning of a world economic crisis, the Japanese militarist tendency openly revealed. The ethnic assimilation policies in Korea has been strengthened and the intellectuals and the national liberation movement was suppressed by Japanese Imperialist. This paper has the aspect on the policies and attitudes of two films that how two films have treated with orphans and social pariahs. On the other hand, this paper tries to find traces of resistance by director Choi through the analysis of Homeless Angel. As compared with the original scenario, there are many other points in film. In spite of this film was an outcome of the self-censorship, it also could be found some traces of resistance on this film as compared with changed part of the original scenario. Finally this paper has a conclusion that though Homeless Angel has the statement of resistance against Japanese on its own, it is a fact that can not be intrinsic resistance.

일반논문 : <올드 보이>와 파시즘 -빌헬름 라이히의 "성경제학 이론"으로 본-

이효인 ( Hyo In Yi ) 한민족문화학회 2010 한민족문화연구 Vol.32 No.-

본고는 박찬욱 감독의 <올드 보이>를 빌헬름 라이히의 성경제학 이론의 관점에서 분석한 것이다. <올드 보이>에 대해서는 영화학계 뿐만 아니라 다른 인문학 관련 학계에서도 많은 학술적 연구가 있었다. 이 연구들은 다양한 접근 방식을 갖고 있었는데, 특히 주목할 것은 정신분석학적 접근이었다. 이러한 연구 성과들은 분명 가치있는 작업이기는 하지만, 영화 텍스트에 대한 과도한 해석으로 보이는 것도 적지 않았다. 본고는 이러한 문제 의식 위에서 주인공 이우진과 오대수의 심리와 행동 근저에 도사리고 있는 정신적 문제에 착안하였고, 그 분석을 위해 빌헬름 라이히의 `성경제학 이론` 혹은 `오르가즘 이론이 적당하고 합리적이라고 판단하여 선택하였다. 라이히의 관점은 이 글에서 다룬 다른 연구 성과들의 과도한 해석이나 적절치 못하다고 생각한 부분들을 다시 원점에서 바라볼 수 있게 하는 것이었다. 예를 들어, <올드 보이>를 외디푸스 이론의 시각으로 보자면 여러 다양한 해석이 나올 수 있는데, 라이히는 외디푸스 이론 자체에 대해 문제 제기를 하는가 하면, 이를 뛰어넘어 풍부한 임상 실험을 토대로 한 정신분석적 방법론을 제시하고 있다. 본고는 <올드 보이>가 궁극적으로 드러내는 것이, 인간 내면의 상처가 지닌 개인성과 사회성에 관한 것이라고 본다. 더 구체적으로는 억압받고 상처받은 한 인간이 결국 파시스트로 변모하게 되고, 이런 속성이 다시 다른 인간에게 전파되는 과정을 그린 것이라고 보는 것이다. 현실적 인물인 동시에 영화적으로 포장된 인물이라는 양자를 다 고려하면서, 라이히의 이론으로 <올드 보이>를 분석해 본 것이다. 사실, 이우진의 파시스트적인 면모가 오대수에게 전파되었다는 결론은 관점에 따라 판단을 달리 할 수 있는 부분이다. 하지만 빌헬름 라이히의 이론으로 보나 영화적 장치로 보나, 본고의 판단은 논리적 정합성이 있다고 보았다. This paper analyzes Old Boy by director Park Chan-wook with the point of view of Wilhelm Reich`s sex-economy theory. There are many academic researches on this film, Old Boy in the discipline of humanities as well as film studies. These researches have diverse approaches, among which especially noted is the approach of psycho-analysis. It is because of the advent of unconventional personas by unconventional setting. This paper, on the other hand, aims to find both personality and sociality, which the inner hurts of human beings in Old Boy possess. With this topic, this paper has the aspect on the mental problem in the psychology and behaviors of the protagonists, Lee Woo-jin and Oh Dae-soo. It can be proper and reasonable to analyze this with Wilhelm Reich`s sex-economy theory or orgasm theory. The point of view of Reich can lead to take a look at the excessive interpretations and improper parts of other researches anew from the starting point. For instance, there are various interpretations from the theory of an Oedipus complex, but Reich suggested problems of the theory itself and presented the methodology of psychoanalysis based on rich clinical demonstrations beyond the theory. This paper suggests that Old Boy ultimately reveals personality and sociality of the inner hurts of human beings. More specifically, the film shows a change of a person that he or she, who has been suppressed and hurt, becomes a fascist, and pictures the course that the change is transmitted from one to another.

카프의 김유영과 프로키노 사사겐주(佐々元十) 비교연구

이효인(Yi, Hyo In) 한국영화학회 2013 영화연구 Vol.0 No.57

Proletarian film movement around 1930, was developed in Japan and Korea, was the first exercise that tried to control film culture specified passively by self-directed method. These movements was led by Youyoung Kim and Gwangje Seo in Korea and Genju Sasa and Akira Iwasaki in Japan. This paper tries to re-evaluate by replenishment from a comparison point of view of cultural history between Japan and Korea, in addition to research of proletarian film movement that are published before, It means to understand the context of the proletarian cultural movement, especially the varied behavior of Youyoung Kim who was the leader of film movement of KAPF. And it also can mean special meaning to research for Genju Sasa who was the pioneer of Prokino because he has not been studied even in Japan. This paper tries to inquire about the relationship between Jenju Sasa/Prokino and Youyoung Kim/KAPF film movement and research their theories of proletarian film movement of Genju Sasa and Youyoung Kim. It is not intended to evaluate the levels of two targets. This paper attempts to recognize the thought, the inner face, and outside influences of Sasa & Kim who stood in history.

연작소설 『황원행』의 집필 배경과 서사 특징 연구

이효인 ( Hyo In Yi ) 한민족문화학회 2011 한민족문화연구 Vol.38 No.-

본고는 1929년 동아일보에 연재된 장편 연작소설 『황원행』에 대한 연구이다. 『황원행』은 최독견, 김기진, 염상섭, 현진건, 이익상 등이 순차적으로 썼으며, 의적 강도를 둘러싼 사건들로 플롯이 구성되어 있다. 릴레이 방식으로 쓰인 장편소설이라는 점도 특이하지만, 그 작가들의 면면이 표면적으로는 조화롭지 않다는 것도 특징으로 꼽을 수 있다. 본고는 이러한 소설가들의 결집이 어떤 맥락에서 이루어졌는가를 먼저 살펴본 후, 그 결집이 의미하는 당대의 사회문화적 함의를 추적하고자 하였다. 또한 작품의 내용에 대한 분석과 다수 작가가 집필함으로써 드러난 특징 혹은 단점은 무엇이었는가도 다루었다. 『황원행』에서 소설의 주요 인물과 플롯은 『승방비곡』으로 당대 최고의 대중작가가 된 최독견에 의해 거의 결정된다. 이어서 집필한 김기진은 등장인물들의 과거 묘사에 주력함으로써 인물들에게 계급성 혹은 운동성을 부여하였다. 대중작가인 최독견과 카프의 주요 이론가였던 김기진의 결합은 이채로워 보인다. 하지만 1929년 당시 이미 김기진은 카프의 계급적 소설을 포기하고 통속적인 대중소설로 방향을 튼 상태였다. 염상섭과 현진건은 사실주의 작가로서 자신들만의 고유한 집필력을 발휘하였고, 이익상은 좀 무리스럽게 소설을 매듭짓는다. 이들 5인 소설가의 결집 배경은 친소관계, 생존차원의 노력 그리고 조선 대중문화 공간에서의 헤게모니 쟁취의 차원에서 이해할 수 있는 것이었다. 『황원행』 서사의 특징은 5인 소설가가 집필한 것에서 비롯된 불균질성을 들 수 있다. 그 불균질성은 각 작가들의 문체와 서사전략 방식의 차이에서 비롯된 것이었다. 그럼에도 불구하고 이 서사는 탐정서사의 일관성을 대체로 유지하고 있다. 다만 최독견에 의해 구사된 영화적 묘사법은 이 소설의 독특한 측면으로 꼽을 수 있을 것이다. 이렇게 본고는 『황원행』 집필 배경과 그 서사적 특징을 연구함으로써 일제 시대 대중문화의 규명되지 못한 한 부분을 밝히고자 하였으며, 이 소설과 소설가들이 지향했던 좌표를 읽어내고자 노력하였다. This paper analyzes Hwangwonhaeng(The Road for Deserta) by written novelist Choi-Dogkweon, Kim-Gijin, Yeom-Sangseop, Heon-Jinken, and Lee-Iksang. This novel has been written by them in order and has the story of Korean Style`s Robin Hood. The defining characteristic of this novel are serial style novel and the mismatch of novelists each other. At first this paper tries to explain how to combine them for writing this novel and understand the meaning of this novel with the point of sociocultural context. After then this paper analyzes the contents and strategy of narrative and the characteristics and the weakness of this novel has been caused of novelists has each personality and each writing style. It`s very marvelous Kim-Gijin and Choi-Dogkweon who has been a famous writer of pop fiction determined to write this novel together to somebody who knows Kim-Gijin only as a famous leader of KAPF. However Kim already has converted and modified his own method for writing strategy. Kim tried to qualify characters of this novel as a political activist or a socialist to the bone. Meanwhile Yeom and Heon have been famous as realist and acquired good writing for this novel. And Lee finished this novel more or less unnaturally. The co-writing of this novel means their position and thought in those days too. They had to survive under the Japanese imperialistic govern and wanted to seize the hegemony in the Korean sociocultural world that any Japanese couldn`t try. The characteristics of the narrative of Hangwonhaeng are non-homogenity that come from co-writing and the description of shooting and editing in the film production that is achieved by Choi. However this novel has the consistency as a detective narrative.

윤봉춘 일기 연구

이효인(Yi, Hyo In) 한국영화학회 2013 영화연구 Vol.0 No.55

Yun Bong-chun(1902∼1975) was an actor and also a movie director, actually he had been famous as the friend of Na Un-kyoo(1902∼1937) who was a legendary film director and actor. Despite Yun had not created a masterpiece, he was perceived as a respectable cineaste by many Korean movie staff. After liberation(1945) of Japanese rule, he made some ethnic films which had struggle against Japanese imperialism and had been elected as president(1963∼1964) of The federation of artistic & cultural organizations of Korea and received a national medal(1993) as a resistance during under Jap-ruled period. This paper focused on analysing the Diary of Yun Bong-chun had been written from 1935 to 1937 day after day. The Diary has not only much informations of realistic facts on his activities of movie and theater but also dramas, films, books, events had been experienced by him and the relationships with his friends and colleagues. This Diary starts to describe the scenes of making A Fig Tree(1935) in going with Drama theater Heon Sungwan company and finished to record the facts of Corps of Youth(1938) in 1937. To understand the reality in those period and discover or correct the complicated facts of Korean movie world, this paper has adapted one of method of micro-historical research and has endeavored to reveal the a transient phenomenons from silent pictures to talkie. It’s difficult to beg the question that Yun’s description was average, however the Diary could be the useful materials to understand the more exact facts and correct the existing mistakes in understanding Korean(Chosen) film history.

〈고려장〉과 〈나라야마 부시코〉(1958, 1982)에 나타난 공동체 및 효(孝)에 대한 비교 분석

이효인(Yi Hyo In) 한국영화학회 2008 영화연구 Vol.0 No.37

The present thesis involved the The Ballad of Nanryama(1958) by Kinosita Keisuke, the Goryeojang(1963) by Kim Gi-young and the The Ballad of Narayama(1982) by Imamura Syohei, to compare the movie's description about the community and the filial piety. For this purpose, a basic study was carried out about the trends of the works by the three directors, about the social environments when the movies were released, and also about the 'Giro story'. The result showed that Japan in 1958, Korea in 1963 and Japan in 1982 had unique social characteristics, and that the 'Giro story' was widespread from India to all over the eastern Asia. The movies of the three directors, which have similar subjects and themes as well as similar background stories, however, were different from one another according to the director's view of the world. Regarding 'community' and 'filial piety', the three works said as follows: As to the issue of the community, the director Kinosita thought that only the spirit of community could overcome the severe poverty, based on the postwar experience of resolving the problems of disorder and poverty, achieving the economic growth; while the director Imamura took the community as 'a complex place with a minimum role' On the other hand, Kim Gi-yeong described the community as an object which was threatening or was to be overcome. As to the issue of the filial piety also, the director Kinosita considered the filial piety as a subordinate concept to the community's group, as a personal emotion of love and sorrow; while the director Imamura Syohei seemed to consider the filial friendship as the practical pathos (the source of haman mind) which goes beyond personal level to overcome social regulations while accepting the futility of life. To Kim Gi-young, the community seemed to be an oppressive order that did not allow the filial piety, in the situation of the collision between filial piety and community. Through this research it was found that the directors took similar themes or subjects with different views, so a comparative study was attempted on the Korean and Japanese movies.

<바보들의 행진>의 탈구심적 미학

이효인 ( Yi Hyo In ) 한양대학교 현대영화연구소 2017 현대영화연구 Vol.13 No.1

하길종의 감독의 <바보들의 행진>(1975)은 흥행에 크게 성공하면서 `병태 신드롬`을 일으켰을 정도였으며 비평적으로도 큰 찬사를 받았지만, 회의적인 비판 또한 없지 않았다. 또한 구체적인 미학적 검토는 물론 당대 혹은 후대의 영화인들에게 어떻게 받아들여졌는가에 대해서도 구체적으로 검토되지 못했다. 또한 이 영화가 당대 관객들과 만난 구체적인 미적 요소 즉 파토스(pathos)를 불러일으킨 인물과 행위, 공간, 이미지, 서사전략 등은 충분히 설명되지 않았다. 이 글은 이런 맥락에서, 단절적인 서사와 파편적 이미지들로 가득 찬 <바보들의 행진>을 억압에 대응하는 미적 양식의 차원에서 보고자 한다. 미하일 바흐찐(Mikhail Bakhtin, 1895∼1975)은 억압적인 공식문화 혹은 벗어나기가 요원한 지극히 관습적인 문화가 지배적일 때는 웃음과 풍자(인물과 행위), 밀실에서 광장으로(공간), 그로테스크한 물질 혹은 육체성(이미지), 거리낌 없는 말투와 에피소드들의 혼잡한 결집(서사) 등으로 드러난다고 보았다. 즉 구심적 문화에 대항하는 탈구심적 문화가 나타나는데, 이러한 것을 공식문화에 대응하는 민중문화의 특징 그 중에서도 카니발레스크(carnivalesque, 카니발적 양식) 성향으로 보았다. 이 글은 이런 맥락에서 바흐찐의 카니발적 미학 등을 중심으로, 단절된 서사와 분산된 이미지들로 이루어진 <바보들의 행진>이 어떤 통일된 미적 지향을 갖는다는 것을 말하고자 한다. The March of Fools (Babodeul-ui haengjin, 1975) directed by Ha Gil-chong, had a great success in the box office and caused a `syndrome of Beongtae`. It was critically acclaimed but also criticised skeptically. In addition, detailed aesthetic review as well as how it was received by contemporary or later filmmakers was not specifically presented. In other words, the specific aesthetic elements example for characters, actions, space, images, and narrative strategies that caused pathos to audience has not been fully explained. Mikhail Bakhtin(1895-1975) advocated that when a very conventional culture dominated by oppressive formal cultures laughter and satire (character and act), the grotesque material or the body (Image), a crowded tone of voice and episodes (narrative) and the square (space) appeared in the people culture. The centrifugal culture against the centripetal culture appears, which is called as the carnivalesque that is the characteristics of the people culture. In this context, I would like to say that The March of Fools composed of disjointed narratives and decentralized images centered on Bakhtin`s carnival aesthetics has a unified aesthetic point.

이마무라 쇼헤이의 〈복수는 나의 것〉 연구 분석

이효인(Yi Hyo In) 한국영화학회 2009 영화연구 Vol.0 No.42

This paper analyzes Vengeance is Mine by Imamura Shohei. Besides my first aim, to study the artistic value of the piece, the reason I wanted to analyze Vengeance is Mine in this study is because the film confronts the symptoms of fascism in Japanese society. It could be one of the artistic approaches to apply to most societies, not merely limited to Japanese cinema and society. The first aim of this study is to clarify which world view or artistic view the vague narrative of the film stems from, including the outline of the director Imamura and the film. Its narrative and vague motive of murder deal with the world view that this film tries to speak of, even though it comes from a place of artistic immaturity. That is, this narrative was possible since the director had the sort of popular historical view of an outsider, which jumps over abstract popular history. Hereafter, his subtle motives and activities are interpreted as that his treatment process or symptoms cannot come close to the essence and continuously 'drive,' along with an interpretation of his trauma. Finally, the paper focuses more on his activities as they relate to the carnival theory of Mikhail Bakhtin. Contrary to a carnival, which is a collective action, though the protagonist Enokizu's actions are like those of a carnival, they are his own actions, like those of a lunatic. His actions, therefore, cannot reach the level of achievement of popular voice, the collective liberation. In a society where the collective carnival is impossible, however, Enokizu performs the actions recklessly by himself. The film expresses them through diverse apparatus such as eroticism, grotesque realism, and comprehensive strong women. Although this study is only a small analysis of a film by Imamura Shohei, it is written to be a part of the comparative study of Japanese and Korean film and the strained relations between modern society and film.