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한류의 역사적 성격과 동아시아의 서발터니티에 대한 시론 : 신자유주의적 세계화를 역류(逆流)하는 <대장금>의 사례분석
주창규 부산대학교 한국민족문화연구소 2006 한국민족문화 Vol.28 No.-
This paper deals with the historical specificity of Hanryu and discuss the possibility of reading Daejangguem which is female alternative narrative, through the Eat Asian modernities and the disjunctive sphere of the neoliberal globalization. For this project, firstly I approach the hybridity of Hanryu, criticizing the conventional thought of the regional modernities that is both the radiatonal model and hierarching model of the moderity, and instead alternatively proposing the recognition the particular historical character of the east asian modernities that is also the hybrid mode of the universal modernity, the east asian postcolonial thought, and the shift to the thought of comparison and refernce with the another regional modernities. So we can understand the historical specificity of east asian modernities as 'excess of the modern', not failure of the modern. Secondly, this paper try to theorize the historicizing of Hanryu that constructs the alternative modern subject, considering the formation of the neoliberal globalization, although it is the deconstructive process of the modern subject. Thirdly, I read the textually of Daejangguem as the female alternative narrative, that is the similarity with RPG digital storytelling, the healing process of the sexual trauma in the bourjoire public sphere, the oriental temporalirity of Hwan, and the shamanistic imagination of the untraditional tradtion in East Asia.
분열되는 나운규의 신화와 민족적인 아나키즘 영웅의 탄생, 1920년대 영화소설에 나타난 나운규의 스타이미지 연구
주창규(Ju Changkyu) 한국영화학회 2012 영화연구 Vol.0 No.54
In this paper, I discuss the "untold Na Un-kyu"s myth" and Na"s star image of cine-roman in colonial Chosun 1920s. For this project, I contextualize Na"s authorship in the chosun film industry and analyze the process of building myth about national anarchist hero of Na Un-kyu through mass culture in 1920s. First, as Na"s authorship is not polarized between genius artist and action popular movie star in the previous study, it has the spliting process of the dillema, which is the film auteur and action movie star. Second, Na"s myth was building not only by film historian of right nationalism, but also by mass culture(ex. cine-roman) of colonail Chosun in 1920s. For example, in Tal-Chum(1926, Sim Hun) and Seung-bang-bi-kok(1927, Choi Dok-keon) Na"s star image was developing and concretizing intertextualy, which originally sourcing in Arirang(1926, Na Un-kyu). Third, in cine-roman, Na"s star image was building of the national anarchist hero, who can escape the pitful lover in the crisis of the modern. Four, in Tal-Chum and Seung-bang-bi-kok, the failure of nostalgic narcissism and the impossibility of social intergration was the cultural expression which was internalizing the failure of 3.1 independent movement and the rejection of the assimilation by Japan colonial government.
주창규(Ju Chang Kyu) 한국영화학회 2007 영화연구 Vol.0 No.34
This paper attempts to identify the aesthestic and historicity of Chungmuro road movie genre, which is consisted by two men and one woman's traveling narrative and image through the analysis of The Road to Sampo(1975, Lee Man-Hee), Declaration of Idiot(1983, Lee Jang-Ho), and Whale Hunting(1984, Bae Chang-Ho). For this project, firstly, this paper understands the abject sense and character of that genre as the abjection(Julia Kristeva) of Korean military dictatorship. So we can position the historicity of that genre as the abject of dictatorship, which is not subject nor object. Secondly, this paper analyses three text's narrative and image through 'family romance'(Sigmund Freud) and 'landscape'(Karatani Kojin). Consesquently, this paper suggests Chungmuro road movie genre's historicity as disillusion and revenge against dictatorship state, and transnational desire, that is differented from exploring new national identity of Hollywood road movie genre.