『위험한 관계』의 각색과 한국각색영화의 문화 혼종성

정문영 ( Chung¸ Moonyoung ) 세계문학비교학회(구 한국세계문학비교학회) 2020 世界文學比較硏究 Vol.72 No.-

본고는 쇼데를로 드 라클로가 쓴 서간체소설 『위험한 관계』(1782), 이 원작을 재탄생시키는데 공헌한 1980년대 할리우드 각색영화, 스티븐 프리어스가 각색한 <위험한 관계>(1988)와 밀로스 포만이 각색한 <발몽>(1989), 그리고 21세기 한류 혼종적 문화상품으로 각색된 이재용의 <스캔들: 조선남녀상열지사>(2003)와 허진호의 <위험한 관계>(2012)에 대한 상호읽기를 각색연구, 한류연구, 그리고 이 연구들의 핵심 개념인 혼종성 논의를 통해 전개한다. 18세기말 대표적인 리베르탱 소설 『위험한 관계』는 억압적 체제로부터 개인의 자유와 정신의 해방을 위한 투쟁이라는 “리베리티나주”의 종말을 다룸으로써 서구의 근대 주체성을 탐구한 소설로 성과가 높이 평가된다. 그러나 라클로는 강력한 여성 리베르탱을 창조했지만, 남성 리베르탱의 헤게모니적 남성성에 기초한 근대 남성 주체성 탐구를 위해 여성 리베르탱을 사라지는 중재자로 배제시킨다. 1980년대 두 할리우드 각색영화, 프리어스의 <위험한 관계>와 포먼의 <발몽>은 원작에 대한 다시-보기를 통해 근대 주체성 탐구에서 배제된 여성 주체성을 차이로 원작에 기입한 각색으로 원작의 재탄생에 공헌을 한다. 이재용의 <스캔들>과 허진호의 <위험한 관계>는 서구 근대성을 탐구하는 원전과 서구 근대 여성 주체성 논의로 다시-보기를 한 두 할리우드 각색영화들을 각색하는 과정에서 혼종의 공간을 창출하여 새로운 사유방식으로 차이를 기입함으로써 아시아 근대 주체성과 아시아 근대 여성 주체성 탐구를 시도한다. 혼종화의 전복적 정치성을 구현함으로써 한국 각색영화들은 서구 텍스트에서 희생자로 주변화된 여자를 각색한 두 아시아 여자들을 통해 서구 텍스트들이 시도하지 못한 미래로의 열림을 향한 탈주와 진정한 리베르티나주의 완성과 아시아 근대적 주체성을 탐구하는데 성공한다. This paper attempts an intermedial, intertextual, and intercultural reading of a series of texts: the source text of Pierre Choderlos de Laclos’s Les Liaisons Dangereuses (1782), two Hollywood adaptation films of Stephen Frears’ Dangerous Liaisons (1988) and Miloš Forman’s Valmont (1989) which made a crucial contribution in regenerating the novel into one of the most popular French classics, and two Korean adaptation films, Lee Jae-yong’s Untold Scandal (2003) and Hur Jin-ho’s Dangerous Liasons (2012) which are Korean pastiches of Hollywood films in the age of globalization, focusing on the concept of cultural hybridity, one of the theoretical keywords of Hallyu studies and adaptation studies. Laclos’s Les Liaisons Dangereuses has been highly celebrated for its exploration of Western modern subjectivity through the critical analysis of degenerated libertinage in the French nobility society right before the French Revolution at the end of the 18th century. But Laclos is concerned only with modern masculine subjectivity in terms of hegemonic masculinity, which results in marginalizing a threatening female libertin as a vanishing mediator for a male libertin’s completion of libertinage and his masculine subjectivity. The Hollywood adaptation films succeed in foregrounding the marginalization of the woman and in exploring modern female subjectivity, by voicing what the source text silences through the process of adaptations. And finally Untold Scandal and Dangerous Liasons can succeed in tracing lines of flights towards a new life, completing the libertinage spirit of the source text and exploring Asian modern subjectivity through the Asian women who have been destined to be victims in the source text and Hollywood films. The two Korean adaptation films fully demonstrate the political functions of the cultural hybridity which bring the possibility of a third, hybrid space for a creation of a new becoming as well as the resistance of the Hollywood cinema system.

매카시즘과 미국 텔레비전 저널리즘의 현대 정치 영화: < 굿 나잇 앤 굿 럭 >

정문영 ( Moonyoung Chung ) 한국아메리카학회 2016 美國學論集 Vol.48 No.2

This paper reads George Clooney`s Good Night, and Good Luck(2005) as a modern political cinema on McCarthyism and television journalism. It argues that Clooney`s film, as his homage to Orson Welles` Citizen Kane(1941), can be regarded as the more appropriate film which supports Deleuze`s discussions on the politics realized in the modern cinema of direct time-images than Citizen Kane. By demonstrating that Clooney`s use of television journalist Edward R. Murrow`s speech as the framework of the film and techniques such as his specialized use of depth of field, reverse shot, and camera-consciousness are effective strategies to handle the problems found in Deleuze`s reading of Citizen Kane, this paper evaluates Good Night, and Good Luck as one of the most successful modern political films. It concludes that the film induces spectators as seers to look for new meanings and lines of flight preserved in the sheets of the past. And it also leads us to create a new paradigm of journalism realized in the third direct time-image which concerns time as series.

들뢰즈의 고전 영화와 현대 영화의 사이

정문영(Moonyoung Chung) 한국비평이론학회 2011 비평과이론 Vol.16 No.1

This paper reads Accident(1966), the second collaborative film between Joseph Losey and Harold Pinter, drawing on Deleuze’s film theory. Most of its critical readings emphasize the circular closed structure of Accident which opens with a car accident and ends with a mirror image of the accident, achieving structural perfection. But this reading emphasizes gaps, interstices between differentiations in its structure which is itself heterogeneous, by breaking with the classical cinema’s concern for the sensori-motor schema. The gap functions as the outside, i.e., the power of the whole in modern cinema, proliferating new direct time-images instead of merging with the indirect representations of time in classical cinema. Thus this paper reads Losey and Pinter’s Accident as a new becoming between Deleuze’s classical and modern cinema. According to Deleuze, with naturalism time makes a very prominent appearance in the cinematographic image, but only grasping the negative effects of time. Thus Accident as a naturalistic cinema can only construct new direct time-images by breaking with the naturalistic, i.e., psychoanalytic concern for the closed signifying chain of words and images in the screenplay. And Accident also as a classical cinema of perception-images can only finds its status as a modern cinema of free indirect subjective by reflecting Stephen’s subjective perception-images in a camera-consciousness. Thus this paper examines the emergence of new time-images such as opsigns and sonsigns, flashback memory-images and the attainability of the free indirect subjective, from the gap between the two cinemas of Accident as classical and modern cinema. Especially it focuses on Stephen’s search for lost time, i.e., truth in his mindscreen, i.e., flashback forced by Anna who unceasingly produces signs that must be deciphered, exercising sexual politics at the failure of the sensori-motor schema.

프로세스 기반 원산지관리시스템

정문영 ( Moonyoung Chung ),양경아 ( Kyung-ah Yang ),구경이,원희선 ( Hee Sun Won ),허성진 ( Sung Jin Hur ) 한국정보처리학회 2010 한국정보처리학회 학술대회논문집 Vol.17 No.2

본 논문에서는 FTA 원산지 관리를 체계적으로 할 수 있는 프로세스기반 원산지관리시스템을 소개한다. 본 시스템은 BPM 을 기반으로 FTA 원산지 판정을 하는 최초의 시스템으로, 원산지판정절차를 프로그램 소스 코드로 작성하는 것이 아니라 프로세스 모델링 방식으로 정의하여, 사용자가 원산지판정 로직을 작성하기가 용이하며, 변경된 절차를 수정하고 관리하기에 편리하다.

공연 교수법을 통한 영미드라마 가르치기

정문영(Moonyoung Chung) 한국영미문학교육학회 2006 영미문학교육 Vol.10 No.1

This paper attempts to explore important pedagogical issues of teaching drama in English literature classes in Korea and propose an option for teaching drama through performance teaching. Under the circumstances of so-called "crisis" in both English literature studies and education, drama currently comes to catch attention as the most useful literary genre. Thanks to its features as a "minor" and non-pure genre, especially drama in English literature is regarded as an useful instrumental one for affiliations with threatening others which have caused the "crisis", such as film, cultural studies, and practical English education. In this respect, the alternative pedagogy proposed in this paper attempts to translate overall educational goals into attainable specific ones, by coping with the societal demands for a major paradigmatic shift in building up educational goals and curriculums of English literature. It incorporates drama project of communicative approaches of language learning, spectatorship training, critical pedagogy, and literature and humanities education into English drama classroom. With an expectation of constructing a new paradigm of English literature education in the dynamic "stage of performance" where conflicting goals interact each other, this paper illustrates an option for teaching drama through performance teaching.

극작가의 스크린-플레이: 핀터의 〈하인〉

정문영(Chung Moonyoung) 한국현대영미드라마학회 2011 현대영미드라마 Vol.24 No.1

This paper examines The Servant(1963), the first collaborative film between Joseph Losey and Harold Pinter, focusing on a series of plays which structure the film. The collaboration changed both Losey’s and Pinter’s artistic reputation and world. The Servant proved to be the film that brought Losey the international reputation as one of the great masters of naturalism in the cinema and Pinter the chance to seek for a line of flight from the oedipal impasse in writing his plays. Especially Pinter’s screen-play as collaborator not as author(master) with Losey leads him to find not a competitive Oedipal politics but a micropolitics, a politics of desire. The central concern of The Servant can be regarded as the power struggle between the master and the servant. But the film goes beyond the politics of class and becomes a naturalistic film of impulse-images which present the originary world that exists and operates in the depths of the real Victorian environment of Tony’s house. The impulse-images of The Servant are generated by a series of violent plays and skillful mirror plays, such as doubling or tripling, distorting, fragmenting, magnifying, diminishing images, especially on the ensnaring convex mirror. Plays in the film gradually become violent male homosexual games from which Tony and Barrett cannot exit. Deleuze indicates that we can look for a salvation in the women in The Servant who are outside the originary world of men. By appropriating Deleuze’s seeking for a line of flight in the women, this paper argues that Susan and Vera always remain inside the originary world instead of its outside, although they are forced to disappear from the world after playing the roles of mediators for men’s game. That is, they will explode the world from its inside and open a new beginning from the implosion. Thus, from his first screen-play with Losey, Pinter can find his concomitant passions for film and not just politics but also sexual politics and he can liberate himself from his oedipalized room.

서버 기반 SW 분할 실행을 위한 스토리지 접근 제어 방법

정문영(Moonyoung Chung),최지훈(Jihoon Choi),최원혁(Won-Hyuk Choi),장수민(Su Min Jang),김원영(Won-Young Kim) 한국정보과학회 2013 한국정보과학회 학술발표논문집 Vol.2013 No.11

SaaSpia 에서 다중테넌트 지원을 위한 질의 처리 방법

정문영 ( Moonyoung Chung ),양경아 ( Kyungah Yang ),구경이 ( Kyong-i Ku ),원희선 ( Hee Sun Won ),허성진 ( Sung Jin Hur ) 한국정보처리학회 2011 한국정보처리학회 학술대회논문집 Vol.18 No.2

본 논문에서는 다중 테넌트를 지원하기 위한 도구를 이용한 질의 생성 방법 및 질의 처리 방법, 그에 따른 페이지 자동 생성 방법을 제안한다.

Pinter의 Betrayal : 메타영화적 메타연극

정문영(Moonyoung Chung) 한국현대영미드라마학회 1999 현대영미드라마 Vol.- No.11

아시아계 미국 무대 위의 인종과 젠더

정문영(Chung, Moonyoung) 한국현대영미드라마학회 2017 현대영미드라마 Vol.30 No.1