<진링의 13소녀>의 영화와 소설의 시점 비교 연구

황영미(Young-Mee Hwang) 경희대학교 K-컬처·스토리콘텐츠연구소 2023 스토리콘텐츠 Vol.- No.2

This paper compares Jin Ling Shi San Chai, a novel written by the Chinese American writer Yan Geling, and its film adaptation, The Flowers of War, directed by Zhang Yimou, to reveal the internal and external characteristics of each work by looking at the differences of point of view between them, which arose from the process of adaptation. Although there are not many studies on Yan Geling in Korea, there are over 100 studies by Chinese scholars on the novel and film adaptation of Jin Ling Shi San Chai, so many that it is difficult to list them all. This paper attempts to identify the characteristics of the novel by using the theory of narrative to show how the novel embodies its theme. It also investigates how the film embodies the theme of the story to reveal the characteristics of director Zhang Yimou. This study focuses on the fact that Jin Ling Shi San Chai is composed of a first-person observer perspective, narrated by the nephew of the protagonist, Meng Su-Juan. By narrating the story from the nephew’s first-person observer perspective, the author achieves intersubjectivity and freely goes back and forth the realms of subjectivity and objectivity. In this paper, it is analyzed that the intersubjectivity is realized through the point of view shots and voice-over narrations in the film. 본 논문은 미국에 거주하는 화교 작가 옌거링严歌苓의 소설 『금릉십삼차金陵十三钗, 진링의 13소녀』와 이를 영화화한 장이머우張藝謨(Zhang Yimou) 감독의 <金陵十三钗진링의 13소녀>(The Flowers of War)를 비교하여 소설이 영화화되었을 때의 시점의 차이를 통해 작품 내·외적 특성을 밝히고자 한다. 옌거링에 대한 연구는 한국에서는 많이 연구되지 않았다. 그러나 『金陵十三钗』의 영화와 소설에 대한 중국 학자들의 연구는 100여 편 가량으로 열거하기 어려울 정도로 많다. 본 논문에서는 우선 서사론에 입각하여 접근함으로써 소설의 서술이 주제를 어떻게 구현하는지를 드러내어 이 소설의 특징을 밝히고자 한다. 또한 영화가 주제를 어떻게 구현하는지를 살펴 장이모우 감독의 특징도 밝히고자 한다. 본 논문에서는 『진링의 13소녀金陵十三钗』에서의 주인공인 멍수쥐안의 조카의 ‘1인칭 관찰자시점’으로 구성되어 있다는 점에 주목한다. 조카의 1인칭 관찰자 서술은 주관성과 객관성을 넘나들 수 있는 간주관성을 획득하고 있다고 할 수 있다. 영화에서는 시점쇼트와 보이스 오버 내레이션을 통해 간주관성이 구현되고 있음을 분석하였다.

이강백의 희곡 <파수꾼>에 나타난 시뮬라크르 양상 연구 -영화 <빌리지>와의 비교를 중심으로-

황영미 ( Young Mee Hwang ) 한국문학연구학회 2011 현대문학의 연구 Vol.0 No.45

이 글은 이강백의 희곡 <파수꾼>과 영화 <빌리지>와의 비교를 통해 보드리야르가 ?시뮬라시옹에서 말한 실재보다 더 실재처럼 보이는 파생 실재(Hyperreal)가 실재를 지배하는 양상을 살펴본 것이다. 이 두 작품은 모두 마을의 질서와 권력 유지를 위해 가상의 적을 만들어 공포감을 조성 하는 줄거리를 지녔다는 공통점을 지니고 있다. 이 연구는 먼저 시뮬라크르와 권력 유지가 어떤 관련성이 있는지를 기 존의 연구를 바탕으로 살펴보았다. 보드리야르는 워터게이트 스캔들을 통해 미국사회의 정의감과 자유민주주의를 유지하고자 하는 목적에서 시 뮬라크르가 있다는 것과 핵이 주는 공포가 실재가 아닌 시뮬라크르라는 것 등을 분석해 놓았다. 다음으로 이강백의 희곡 <파수꾼>과 영화 <빌리지>에 나타나는 시 뮬라크르의 유사성을 살펴보았다. 시뮬라크르는 내부적 요인에 의해 내 파될 수밖에 없는데, 시뮬라크르 제작자들은 시뮬라크르를 유지하기 위 해 이러한 내파를 저지하게 된다. <파수꾼>과 <빌리지>는 내파와 저지 과정에서 조금 다른 양상을 보인다. <파수꾼>은 이리떼가 나타난다는 것이 거짓이라는 것을 알게 된 주인공 ``파수꾼 다``가 촌장에게 설복당해 마을을 질서와 평화 유지를 위해 여 전히 가상의 적인 이리떼가 나타난다는 것을 보고하는 일을 하기로 결정 함으로써 시뮬라크르가 유지되는 결말로 끝맺는다. 그러나 영화 <빌리지>에서는 숲 밖을 나가지 못하도록 숲에 괴물이 산다는 시뮬라크르가 형성되었지만, 눈먼 소녀가 마을을 탈출하여 약을 가져옴으로써 마을의 원로와 어른들이 반성하는 계기가 되어, 시뮬라크르 유지를 포기하는 해 결로 끝맺는다는 차이점이 있다. 이 글은 이들 두 작품에서 어떻게 시뮬라크르를 활용하는지를 살펴보기 위해 서사론적 측면에서 등장인물의 기능과 서사구조로 시뮬라크르 양상에 접근하였다. 우선 <파수꾼>과 <빌리지>의 등장인물을 시뮬라크르 제작자, 수용자, 폭로자로 구분하여 이들 인물의 기능을 살폈다. 또 한 서사구조적 특성을 밝혀 시뮬라크르가 어떻게 형성되며 어떠한 의미 를 지니는지를 살펴보았다. 이 논문은 그동안 한국문학연구에 있어 제목이나 목차에 시뮬라크르 양상에 대해 접근한 논문을 찾기 어렵고, 특히 정치적 권모술수를 희화화 한 희곡 <파수꾼>에 적용함으로써 작품을 새롭게 해석했다고 할 수 있다. 이는 희곡 <파수꾼>이나 영화 <빌리지>를 시뮬라크르 양상으로 연구한 논문이 전무하기에 시뮬라크르 적용 연구의 지평을 넓혔다고 할 수 있다. This study is about the phenomenon that Hyperreal is much more real and predominant, said Bourdrillard in Simulation, through film ``The Village`` and the play ``The Watchers`` written by Lee Kang Baek. Both works have common ground that fears by using hypothetical enemy inspire terror to keep village`s order and power. At first, this study looked into how simulacre related with maintaining of power based on the existing studies. In U.S.A., there are many studies about the simulacre that impair U.S.A.`s liberal democracy. Next, this study looked on the similarity of simulacre on the play ``The Watchers`` by Lee Kang Beak and the film ``The village``. Both works` Plot and story is considerably similar but their visions of the conclusion are different. Simulation must have implosion because of the inner factors, simulation producer makes let it down for keeping its simulation. ``The Watchers`` and ``The village`` have little difference aspects in the process of deterrence strategy. In ``The Watchers``, main character ``Watcher Da(No.3)`` is persuaded village-head into decide to work for report the alarm about herd of unreal herd of wolves for village`s peace Then simulacre is kept going on. Film ``The Village``, however, blind girl flees from the village and finally gets medicine. So, grown-ups and old men in the village reflected themselves and gave up their simulacre. In order to look around how these works put to use ``simulacre``, this study accessed the phenomenon by function of the character`s structure and narrative`s aspect. Above all, characters on ``The Watchers`` and ``The Villages`` are classified into two group. Some are in the simulacre producer`s group and the other are in the group that cheated by simulacre. This study also considers how simulacre is formed and what meaning that it has by revealing the figures of narrative structure. This thesis widened the field of study of simulacre because there is few paper focused on the phenomenon of simulcre about the play ``The Watchers`` and the film ``The village``

영화에 나타난 한국전쟁기 미군과 민간인의 관계 -<작은 연못>, <웰컴 투 동막골>, <아름다운 시절>을 중심으로-

황영미 ( Young Mee Hwang ) 한양대학교 현대영화연구소 2014 현대영화연구 Vol.10 No.2

This paper examines the aspects of an otherized civilian population depicted in movies based on the Korean War from the viewpoint of the subject (in this case the U.S. military) and the other (Korean civilians). This paper starts by considering the awareness of Korean civilians that they were being treated as outsiders (the other) by U.S. soldiers during the Korean War. During this time, Korean civilians were often living as the other in the way that they were victims of U.S. bombings, exploited sexually, and made economically dependent on American charity. In the ethics of Immanuel Levinas, Conscience is the mind of devoting oneself to the other, as the subject is built by the other. Although the U.S. military did not intend to kill Korean civilians but to aid them, in the view of Levinas’s Conscience, they should be criticized for not being entirely devoted to help the Korean civilians. The U.S. military were standing in the place of the colonial subject, inflicting violence on Korean civilians by indiscriminate bombing, for instance. This paper will investigate how the relationship between the subject and the other appears in three Korean War films showing diverging aspects of the relationship between U.S. soldiers and Korean civilians. This paper notes that the image of the U.S. military differs in terms of its public and private relationship with Korean citizens, and this dual viewpoint is represented differently in the three films - ‘Spring in My Hometown’ (1998), ‘Welcome to Dongmakgol’ (2005), and ‘A Little Pond’ (2010). The U.S. military seems to be regarded in two very different ways by Korean citizens from these films. The first view is that the American armed forces in Korea were a companion while the second viewpoint regards them as perpetrators of violence and oppression. In ‘A Little Pond’, the U.S military came to Korea to help them as an ally at first, though finally they became a group guilty of indiscriminate violence and massacres to keep Korean civilians from crossing the tactical wartime border. This movie portrays U.S. troops as aggressors in the war and the Nogunri villagers as being otherized and victimized - unable to resist at all. In ‘Welcome to Dongmakgol’, Smith crashes into Dongmakgol and becomes friendly with the village people. In contrast, the larger U.S.-led military force is portrayed as ruthless invaders who attacked and threatened the villagers - even bombing the village on one occasion. In reaction to this aggression, Smith and some Korean deserters join the People’s Army to resist the U.S.-led air force bombings of Dongmakgol, revealing the duality of the subject and the other. In addition, in ‘Spring in My Town’, the U.S. military does something good for the Korean civilian population by giving out chocolate to children and providing civilians with delivery jobs. However, they commit acts of sexual violence, traffic women, abuse children for digging through the trash, and stigmatize Sungmin’s father for siphoning off military equipment by spraying them with red paint. So, at first the U.S. military helps Koreans financially, but becomes the devil incarnate; exercising omnipotent power by raping and committing acts of violence. It leads Changhee to fire at watermill and kill an American soldier. Here, the relationship between the U.S. military and Korean civilians is expressed as a personal and emotional relationship. The present study first considers the differing aspects in each of the three films-‘A Little Pond’, ‘Welcome to Dongmakgol’, and ‘Spring in My Hometown’. The U.S. soldiers captured on camera show the diverging perceptions of the U.S. military at the time - allies and companions to Korean civilians, but also perpetrators of violence and oppression. In conclusion, the relationship between the U.S. army and Korean civilians is another tragedy of the Korean War. It shows how the America-led forces initially came to Korea as an ally, but eventually committed indiscriminate slaughter in the name of military expediency-in so doing otherizing the Korean civilian population. This paper has significance in that it’s the first paper examining the relationship between the U.S. military and citizens of Korea during the Korean War as depicted in Korean films.

『완득이』의 서술전략과 영화화 연구

황영미(Hwang, Young-Mee) 돈암어문학회 2011 돈암어문학 Vol.- No.24

이 논문은 텍스트에 대한 분석은 내용과 형식 모두에서 논의되어야만 한다는 입장에서 출발하였다. 이 논문은 불량한 어투로 말하는 고등학생의 입과 눈을 통해 서술하는 소설 『완득이』의 서술상황이 시점 면에서 독특하다는 점에 주목하여 분석하였다. 담임선생님을 ‘똥주’라고 명명하며 그를 싫어하는 어투를 지닌 1인칭 서술자인 완득이는 사실상 이 세상 누구보다도 담임선생님을 믿고 따르고 있다. 그러므로 이러한 서술자는 웨인 부우드에 의하면 ‘믿을 수 없는 서술자’라고 말할 수 있다. ‘믿을 수 없는 서술자’란 서술자 자신의 어떤 특별한 치우침이나 오류로 내포작가의 규범에 맞지 않을 뿐 아니라, 이러한 서술자의 서술은 믿을 수 없기 때문에 독자는 내포작가와 담합을 하여 서술자의 서술을 반어적으로 읽게 된다. 『완득이』의 서술전략의 핵심은 바로 이런 점이다. 소설 『완득이』는 이한 감독에 의해 동명으로 영화화되어 2011년 10월 20일에 개봉했다. 개봉 6주 만에 500만이 넘는 관객을 동원하였다. 이 글은 원작에 비교적 충실한 <완득이>에서의 카메라의 객관적 시점이 ‘믿을 수 없는 일인칭 서술’을 어떻게 구현하는지에 대해 살폈다. This paper is starting forward the position that analysis about "text" must be discussed by both "content" and "form". This paper is focused on the unique point of view-novel 『WanDeuki』, especially narrative condition through mouth and eyes of highschool student who has very poor his way of talking. First-person narrator, WanDeuki, named his head-teacher "Ttongju" and hate him with a very poor way of talking but virtually he believes his head-teacher more than anyone else in this world. Therefore, these narrators, according to Wayne C. Booth, can be a "incredible narrative". "Incredible narrator" means any particular bias or error of narrator and it is not conform to the norms of the implied author. Also, because description of these narrators can not be believed, readers who have the collusion with the implied author is going to read the narrator"s narration ironically. The core narrative strategy of Kim Ryeo Ryeong is this. Novel 『WanDeuki』 was filmed as the same name by director Lee Han and released on 20 October 2011. Released in 6 weeks was mobilized over 5,000,000 viewers and in the future more will be expected to watch that movie. There are several times that "Incredible narrative" is used in Korea literature, but it is much less filming of original that is written by this kind of narration. This article is focused on how they are implemented the "incredible narrative", relatively faithful to the original, in film <WanDeuki> on the camera"s objective view-point. In addition, novel and film both in terms of subjects noted that the multi-cultural text. Protagonist of the novel 『WanDeuki』"s mother is Vietnamese, but Filipinos in the movie. And head-teacher, LeeDongJu, gives foreign workers the shelters and the better conditions of life. The steps that Wandeuki"s acceptation of his foreign mother, show that the aspect about absolutely hospitality on foreigners who became a member of the family.

자궁에서 발생한 지방평활근육종

황은주 ( Eun Ju Hwang ),임명철 ( Myong Cheol Lim ),김은나 ( Eun Na Kim ),권영미 ( Young Mee Kwon ),홍은경 ( Eun Kyung Hong ),정대철 ( Dae Chul Jung ),박상윤 ( Sang Yoon Park ) 대한산부인과학회 2010 Obstetrics & Gynecology Science Vol.53 No.11

Heterologous sarcomas of the uterus are rare neoplasms. We report a rare case of heterologous uterine sarcoma composed of leiomyosarcomatous and liposarcomatous components with a brief review of literature. A 53-year-old woman had vaginal spotting. The endometrial biopsy performed at a local clinic revealed a high grade spindle cell sarcoma. Pelvis magnetic resonance imaging showed about 5.4 cm sized multiseptated T1 and T2 high signal mass in a uterine fundus without lymph node metastasis or pelvic wall involvement. Total laparoscopic hysterectomy, bilateral salpingo-oophorectomy, pelvic and para-aortic lymph node dissection, and peritoneal washing cytology were performed. Pathologic diagnosis was made as leiomyosarcoma with liposarcomatous differentiation (lipoleiomyosarcoma). The patient received adjuvant postoperative radiotherapy (5040 cGy). Follow up images showed no evidence of disease 8 months after surgery.

빅데이터를 활용한 영화 흥행 분석 -천만 영화의 웃음과 눈물 요소를 중심으로

황영미,박진태,문일영,김광선,권오영,Hwang, Young-mee,Park, Jin-tae,Moon, Il-young,Kim, Kwang-sun,Kwon, Oh-young 한국정보통신학회 2016 한국정보통신학회논문지 Vol.20 No.6

The study aims to analyze factors of box office utilizing big data. The film industry has been increasing in the scale, but the discussion on analysis and prediction of box-office hit has not secured reliability because of failing in including all relevant data. 13 films have sold 10 million tickets until the present in Korea. The study demonstrated laughs and tears as an main interior factors of box-office hit films which showed more than 10 milling tickets power. First, the study collected terms relevant to laugh and tear. Next, it schematizes how frequently laugh and tear factors could be found along the 5-film-stage (exposition - Rising action - crisis - climax - ending) and revealed box-office hit films by genre. The results of the analysis would contribute to the construction of comprehensive database for the box office predictions on future scenarios. 이 연구는 빅데이터를 활용하여 영화흥행 요인을 분석하는 것이 목적이다. 한국의 영화산업 규모는 날로 커지고 있지만, 현재까지 진행되어온 영화 흥행 요인 분석 및 예측과 관련된 논의는 관련 데이터를 망라하지 못해 정확성을 담보할 수 없는 상황이었다. 지금까지 한국에서의 천만 영화는 총 13편이 있었고, 이 연구에서는 천만 흥행에 눈물과 웃음이 주된 텍스트 내적 요인으로 작용함을 밝혔다. 이에 빅데이터를 활용해 영화에 대한 댓글 중 웃음과 눈물과 관련된 용어를 수집한 후, 영화의 구성 5단계(발단-전개-위기-절정-결말) 중 어느 부분에 웃음과 눈물 요소가 많은지를 도표화하여 천만 영화의 장르별 구성 방식을 논증하였다. 이러한 분석 결과는 앞으로 영화 제작 전 단계에서 시나리오 상에서의 흥행 예측을 하는 종합적인 데이터베이스 구축에 기여하게 될 것이다.

한국문학과 만주 체험 ; 김창걸 해방전 단편소설 연구

황영미 ( Young Mee Hwang ) 한국문학연구학회 2009 현대문학의 연구 Vol.0 No.37

소설의 영화화에 있어서의 시점 연구

황영미(Hwang, Young-mee) 국어국문학회 2011 국어국문학 Vol.- No.159

The aim of this paper is to figure out the mechanism that how can be shown the view point of novel in the film. Choi Yoon’s novel There Is Falling a Petal Silently (1988) is shown crossly from the three types of point of view. First, ‘the plural-first person point of view -narrator’s description’ of ‘We’ who were searching for disappeared friend’s sister after ‘Gwangju Democracy Campaign’ described ‘the day’ in the novel. Second, ‘the first person point of view-an interior monologue’ of ‘She’ who has gone mad because of ‘Gwangju Democracy Campaign’. Third is the ‘character narration’ that is observing ‘the man’ who is changed meeting ‘She’. This paper analyzed the strategy of narration embodying the subject by changing of the view point divided into three types of view point each chapter. Through theses three types of view point, the theme is embodied that today’s readers have only a distant about ‘Gwangju Democracy Campaign’, even if there is a intent which makes readers closely to the problems of ‘Gwangju Democracy Campaign’. This novel’s subject is the ‘difference of the view point’, so the dimension of the view point is fairly important when we discuss this novel. There Is Falling a Petal Silently is cinematized, A Petal(1996), by Jang Sun Woo. This paper is going to observe that how the film adapted three types of view point and how that related the subject of the original novel. The novel is divided into 10 chapters but Jang Moon Ill and Jang Sun Woo’s scenario has 138 places. At first, this paper focuses on the distant of three types of view point and find out the meaning by seeking the relations between Mise-en-Scene in film. At discussion of the view point, novel can be told by two factors which are ‘who is teller’ and ‘who is watcher’ but in the film, novel’s narration is divided into visual point and auditive point. And we will discuss the phenomenon because of this difference. Next, we will discuss difference between novel and film from the Jang Sun Woo’s view of the world which interpreted Choi Yoon’s work. For this aim, we tried to track ‘the distances’ between figure and figure, and reader and author. Also we did approach that how can be accepted the problem of ‘Gwangju Democracy Campaign’ based on this novel in the film and novel’s text by reader. Finally, novel and film’s text, progress using ‘close the distance’ and ‘make the distance’ crossly, makes reader recognize that the ‘Gwangju Democracy Campaign’ is their problem but they have distance sentimentally and timely from ‘Gwangju Democracy Campaign’. Although it is shown by dividing into each chapter in novel and on connectivity in film, this paper finds out that both film and novel are shown the subject of reader’s sentimental ‘distance’ about ‘Gwangju Democracy Campaign’ through the discussion of it’s view points.

한국 사극영화 장르의 유형 연구

황영미(Hwang Young-Mee) 한국영화학회 2016 영화연구 Vol.0 No.68

이 연구는 한국에서 사극 장르에 대한 정의와 유형에 대한 수많은 시도에도 불구하고 아직 정립되어 있지 않다는 문제제기에서 출발한다. 영화계에서 사극은 역사영화, 시대극 등과 혼용되어 사용되고 있고, 퓨전 사극, 팩션사극 등의 용어로 장르의 변용이 진행되고 있기 때문이다. 이 연구에서는 사극과 시대극은 시대배경 차이로 혼용될 수 없다고 보았다. 우리나라의 경우 한일합병 이전의 전근대를 시대배경으로 할 때 사극이라 하고, 그 이후부터 현대 이전까지를 시대배경으로 하는 영화를 시대극으로 보았다. 그러므로 시대극은 사극의 범주에 포함시키지 않는다. 또한 역사적 사실의 반영 정도에 따라 사극의 유형을 정통 사극, 팩션 사극, 퓨전 사극으로 구분하였다. 이준익 감독의 총 5편의 사극영화는 한국 사극영화가 보여주는 다양한 스펙트럼을 지니고 있기에, 이준익 사극영화를 통해 한국 사극영화의 특징과 장르의 유형을 정립할 수 있을 것으로 본다. 첫 번째로 역사적 사실에 많은 바탕을 삼은 영화인 정통 사극 군에 해당하는 영화는 <사도>, 그 외의 영화는 팩션 사극 군에 속하며, 팩션 사극 중에서도 해석가감의 정도에 따라 <황산벌>, <평양성>은 사실적 팩션 사극, <왕의 남자>와 <구르믈 버서난 달처럼>은 해석적 팩션 사극으로 분류하였다. 이준익 사극 영화를 위의 분류로 하면 전근대를 시대배경만으로 차용한 퓨전 사극은 존재하지 않는다고 보았다. 이처럼 이준익 사극은 한국 사극영화를 구분하는 지표가 될 수 있다고 본다. 이 문제는 영화 장르에서 뿐만 아니라 연극이나 텔레비전드라마에서도 문제가 되기 때문에 더욱 유의미하다고 할 수 있다. The study starts with the problem that definition and typology of genre of Korean historical film has not been set despite numerous attempts. Korean historical film is usually muddled with film of history, period film, and other similar concepts. Add on that the genre is now transforming with the words of ‘fusion historical film’, ‘faction historical film’, and so on. This study insists that mixed use of the terms Korean historical film and ‘period film’ is not appropriate. In case of Korean film, Korean historical film’s time setting should be premodern society until annexation of Korea to Japan. For period drama, the time setting is based on the period after annexation until contemporary society. In addition, types of Korean historical films are classified into authentic historical film, faction historical film, and fusion historical film (costume film) depends on its historicity. Director Lee Joon-ik’s five historical films show the wide spectrum of Korean historical film, so that they are useful to set the feature and genre of Korean historical film. Following the typology, Among Lee Joon-ik’s movies, fusion historical film based on premodern society does not exist. First, authentic historical film, which is mainly derived from historical fact, is Sado:The Throne.(2014) Other movies most likely are faction historical film. Depending on the historicity and the level of interpretation, Once Upon a Time in a Battlefield(2003) and Battlefield Heroes(2011) are classified as realistic faction historical film, King and the Clown(2005) and Blades of Blood(2009) are classified as analytical faction historical film. According to the classification, Lee Joon-ik’s Korean historical films can be seen as indicator of classification of Korean historical film. Since the problem is applied to not only film but theater and TV series, this study can provide meaningful implications.

한국 다문화가족 TV드라마의 특성 연구

황영미 ( Young Mee Hwang ) 한국현대문예비평학회 2010 한국문예비평연구 Vol.- No.31