말씀이 영상이 되어 : 영화 < 제인 에어 > 와 < 폭풍의 언덕 > 의 서술과 다양한 자아

(So Young Lee) 문학과영상학회 2002 문학과영상 Vol.3 No.1

본고는 『제인 에어』와 『폭풍의 언덕을』을 각색한 영화 작품 중 프랭코 제퍼렐리 감독의 1996년 작 <제인 에어>와 피터 코스민스키 감독의 1993년 작 <에밀리 브론테의 폭풍의 언덕>을 통하여 활자 언어가 영상 언어로 재현 가능한가에 대하여 살펴본다. 활자 언어의 관념적이고 상징적인 표현을 감각적이며 지각에 의존하는 영상 매체로 표현 할 수 없다는 논리에 맞서 영상언어의 다양한 기호와 역동적인 문법에서 문학의 영상화에 대한 가능성을 찾고자 한다. 뿐만 아니라, 영상언어는 그 다양한 요소의 창조적인 대치를 통하여 이미 굳어진 인식의 관습을 소격화시키어 현실을 새롭게 인식하게 해준다. 특히, 두 소설에서 중요한 역할을 하는 서술과 타자와의 동일시등, 문학에서 가장 추상적이며 관념적으로 생각되어지는 요소들이 영상으로 어떻게 형상화 될 수 있는지 실제 영화작품의 구체적 분석을 통하여 살펴본다. 영화 <제인 에어>의 분석에서는 제인이라는 인물/서술자를 어떻게 영상으로 형상화 될 수 있는가를 살피기 위하여 일인칭 화자의 서술과 시점, 또 제인과 다른 여성간의 동일시 관계, 특히 버사와의 관계 등이 촬영과 편집, 그리고 특히 거울의 사용과 같은 미쟝센 등의 영상언어로 어떻게 표현되는지 살핀다. 영화 <폭풍의 언덕>에서는 서술의 여러 층, 즉 샤롯 브론테의 서문, 또는 록우드와 넬리의 서술이 영화로 어떻게 옮겨지는지 보며 타자의 형상에 자신을 반영하는 캐더린의 다원적인 주체성이 어떻게 표현되는지 살펴본다. 메일리 브론테라는 새로운 인물의 형상화, 줄리엣 비노쉬이 이중 연기, 영상과 음향의 혼성을 통한 새로운 의미 창출, 반복되는 사건의 편집을 통한 희귀적 시간 표현 등, 영상적 상상력이 어떻게 소설을 읽는 과정을 재현할 수 있는지 살펴본다. 영상적 문법은 문학의 상징과 개념들을 충분히 형상화할 만큼 발전하였으며, 영화의 복합적이며 다양한 차원의 전달 체계들은 문학 작품을 보다 여러 층위의 의미로 해방 시킬 수 있다. 또한 문학을 다른 체계의 픽션으로 옮긴 예술 작품은 글쓰기에 의한 과학적인 비평이 지적하지 못한 텍스트의 요소를 드러낼 수 있는 좋은 비평자료가 되기에 문학과 영상의 병행 연구는 앞으로 더욱 적극적으로 연구되어야 할 것이다.

공간의 자본화와 장소상실: 지아장커의 <소무>, <세계>, 그리고 <스틸라이프>

GEN,최용성,강소원,최병학,김려실,고현철,정병언 문학과영상학회/문학과영상학회 2011 문학과영상 Vol.12 No.2

정신분석과 데이비드 매밋의 『올리에나』

( Yon Jae Jung ) 문학과영상학회 2002 문학과영상 Vol.3 No.2

데이비디 매밋은 미국현대극을 대표하는 극작가로서 그동안 『아메리칸 버팔로』, 『글렌개리 글렌 로스』등을 비롯한 수많은 인기작과 문제작들을 발표해왔다. 또한 화려한 환상적인 영상을 내세우는 할리우드의 전반적인 문화양태를 신랄하게 비판하면서도 아이러니컬하게 그는 할리우드의 핵심부에서 비평가들에게 인정받는 일련의 영화각본(『평결』,『호파』, 『말콤 엑스』,『웩 더 독』)을 꾸준히 내놓고 있다. 그리고 여기에 만족하지 않고 한발 더 나아가 그 자신이 직접 감독으로 메가폰을 잡고 지금까지 여덟 편의 영화를 제작했다. 그가 영상화한 작품들은 너무 지적이거나 무거운 심리적 주제를 강조하고 있다는 비판도 받고 있긴 하지만, 전반적으로 볼 때 매밋 영화의 대부분은 잘 짜여진 개성 있는 각본, 간결하면서도 강렬한 리듬의 대사, 그리고 탄탄한 연기력을 지닌 배우들을 전면에 내세워 틀에 박힌 여타의 상투적 할리우드 영화와는 구분되는 독특한 그만의 영상세계를 구축하고 있다. 매밋의 주요 작품경향을 범죄영화로 정의한다면, 그의 1994년도 영화 『올리에나』는 사뭇 다른 주제와 내용을 보여준다고 할 수 있다. 이 영화는 스펙타클의 기준에서 평가하면 상당히 비영화적이며, 또한 진행속도도 다소 느리고 장소의 이동도 거의 없어 마치 무대에서 실연중인 오리지널 연극을 그대로 카메라에 담은 듯한 느낌을 주고 있다. 어떤 의미에서 영상매체가 지니는 무한한 잠재력의 적극적인 개발은 이 영화와 거의 무관한 것처럼 보인다. 하지만 매밋의 영화 『올리에나』는 두 인간 주체 사이에서 일어날 수 있는 오해와 갈등관계를 한정된 공간 속에서 벌어지는 지극히 도발적인 형태의 심리 드라마로 엮어내면서 관객과 평론가들 사이에 강렬한 논쟁의 대상이 되어 왔다. 그동안의 비평적 견해를 볼때, 대부분의 평론가들은 성추행으로 궁지에 몰리게 되는 이 영화의 남자교수를 동정하며 옹호하는 입장을 보였으며, 반면에 그를 파멸로 몰고 가는 여학생을 분노에 찬 이성 잃은 악녀 페미니스트로 묘사하였다. 최근엔 현대 페미니스트들에 대한 불만을 평소에 자주 토로했던 마이클 더글라스가 주연으로 출연한 할리우드 블록버스터인 『위험한 정사』나 『폭로』같은 영화와 매밋의 『올리에나』를 같은 반 페미니즘 계열의 대표적 영화로 구분지어 살펴보는 문화적 연구가 학계에서 설득력을 가지고 인기를 얻고 있다. 본 논문에서 저자는 『올리에나』를 성추행이나 반페미니즘의 시각에서 살펴보기보다는, 이 작품의 주요핵심 구조라 할 수 있는 `스승과 제자` 관계를 라캉의 정신분석학적인 입장에서 재조명하고자 한다. 많은 비평가들이 지적하듯이, 사실 교육(pedagogy)과 정신분석(psychoanalysis)은 많은 유사점을 가지고 있다. 『올리에나』의 남자교수는 정신분석가로, 여학생은 상담치료중인 환자로 비유하여 전체 상황을 하나의 정신분석학적인 알레고리로 해석하면서 그동안 논란이 되어 왔던 여학생의 설명하기 힘든 공격성의 근본동기를 라캉의 전이(transference)란 개념과 이와 관련된 여러 이론들, 즉 아는 주체, 역전이, 치료, 지식 그리고 진리 등을 통하여 자세히 접근해 보고자 한다. 라캉식 관점에서 해석했을 때, 남자교수는 악의 없는 순진한 희생자가 아니라 무능력하며 무책임한 정신분석가이며 무정한 가해자인 것이다.

학생 인권문제와 상징폭력: <말죽거리 잔혹사>에 대한 학생들의 비평문을 중심으로

계운경 문학과영상학회/문학과영상학회 2011 문학과영상 Vol.12 No.2

영화 <설득>: 앤, 붕괴되는 전통 가치 속에 피어난 주체적 여성

백승봉 문학과영상학회 2018 문학과영상 Vol.19 No.3

This essay explores Persuasion, which is a 1995 film directed by Roger Mitchell and based on Jane Austen’s last novel. Austen is an author who has had a wide range of readership and has continued to be loved through the present day. Mitchell added perspective reinterpreted by the director as well as sticking to the original work which arouses a lot of sympathy from the audience. First, the aim of this essay is to explain the collapse of the traditional class values in the early 19th century British society. British society was undergoing wars and many changes were taking place at that time. One of the most remarkable changes is that the gentry with traditional class values was gradually collapsing and a new class with huge wealth was taking their places. Mitchell expressed well the humanity of the navy, showing this emerging class. Furthermore, the fall of the Elliot’s and the appearance of the affluent Captain Wentworth embodied the change of British society in the movie. Anne, a baronet’s daughter, who was persuaded to reject Wentworth’s proposal of marriage by the limitations of existing class society, became reunited with him. Love for each other was reconfirmed in Anne’s journey. Second, Mitchell reinvented Anne as a self-reliant and independent woman. She is a character who is not buried in the traditional values but depends on her own feelings and judgment. And she is a woman who successfully reunites with her love, Captain Wentworth beyond their class disparity and pursues her own life. This is the achievement of Mitchell, who was able to add a modern interpretation to Austen’s original work. As such, the movie is very meaningful as a genre that reproduces the original work and recreates new meaning.

확장된 비평 형식으로서의 오디오비주얼 에세이 연구

안현신,오준호 문학과영상학회 2016 문학과영상 Vol.17 No.1

The purpose of this paper is to examine the possibility of audiovisual essay as the form of an expanded criticism. Audiovisual essay refers to the use of re-edited images and sounds to carry out the work of analysis, appreciation or critique of cinema texts, and is also variously called as 'digital criticism', 'videographic film/moving image studies', etc. The changes of media circumstances as the basic condition of our lives have also affected the way of writing including 'writing about art' and 'art criticism'. The concept of ekphrasis, which had been defined as “the verbal representation of visual representation”, now encompasses more expanded areas such as all kind of writings about images, activities beyond the border between creation and criticism, reactions about visual works of art from the non-professional public, and even the area of multimedia. The expansion of ekphrasis is connected to the film criticism as well. In the age of the internet, the traditional sense of criticism based on the print format went through 'the discourse of crisis' and 'the discourse of death'. In this situation, audiovisual essay is functioning as a form of expanded criticism. In this expansion, cinema as an object of criticism doesn't stay in a fixed place and the relation between the criticism and the object of criticism has been changed.

좀비, 서구 문화의 전복적 자기반영성: 조지 로메로의 <살아있는 시체들의 밤>과 <시체들의 새벽>을 중심으로

권혜경 문학과영상학회 2009 문학과영상 Vol.10 No.3

Zombies have enjoyed a popularity and longevity afforded to few other subgenres of horror in the Western culture. The living dead are a device to criticize real-world social ills, such as government ineptitude, racism, slavery, greed and exploitation, while indulging our post-apocalyptic fantasies. George A. Romero directed the black-and-white Night of the Living Dead in 1968, which turned zombies into metaphors for social decays and shifted them into the focal point of horror films. The film dramatizes the bewildering and uncanny transformation of human beings into the living dead. It also unsettles the audience through its focus on the taboo subject of cannibalism. Film historian Robin Wood sees the flesh-eating scenes of Night of the Living Dead as a late-1960s critique of American capitalism. Some critics say zombies reflect the return of the repressed. In this regard, zombies represent the younger generation of Americans in the late 1960s who wanted to overthrow traditions and replace them with a new social order. Romero explained that his movies are about revolution in the broadest sense in which a new society replaces the old and devours it. Night of the Living Dead is a horror film where all classical conventions have been cut out. The lead role of Ben was played by Duane Jones, an unknown black actor. Even the idea of a black hero at the time was something new and revolutionary. The surprising death of Ben at the end of the film offered audiences an uncomfortable, nihilistic feeling unusual for the genre. Dawn of the Dead, Romero’s second zombie film, is a satire on consumerism. In 1974, Romero was invited by his friend Mark Mason to visit the Monroeville Mall, which Mason’s company managed. That is where the idea of the film came from. A shopping mall is a quintessential suburban American symbol. In this movie, even the zombies can’t forget habits they had before dying. They wander aimlessly inside the mall just because they remember the place as an important part of their lives. They are the consumer zombies. As Peter says, “They are us.” Romero’s two films have had much influence on later zombie films. Edgar Wright’s Shaun of the Dead relates directly to the plots of Romero’s zombie films and the title is also both an obvious parody of and homage to the title Dawn of the Dead. The black-humored film, a so-called rom-zom-com, also brings a distinctive Englishness to the genre. Wright tries to deconstruct the traditional dichotomy between human beings and zombies by making zombies live with human beings as well as by making his characters imitate zombies in his film. Romero has been working outside of the Hollywood studio system for his entire career. He chose zombies to criticize the social ills and the abuse of power in the Western societies. They are regularly encountered in horror and fantasy themed fiction and entertainment as a symbol of subversion and resistance against the social decay of the modern society. Zombies have enjoyed a popularity and longevity afforded to few other subgenres of horror in the Western culture. The living dead are a device to criticize real-world social ills, such as government ineptitude, racism, slavery, greed and exploitation, while indulging our post-apocalyptic fantasies. George A. Romero directed the black-and-white Night of the Living Dead in 1968, which turned zombies into metaphors for social decays and shifted them into the focal point of horror films. The film dramatizes the bewildering and uncanny transformation of human beings into the living dead. It also unsettles the audience through its focus on the taboo subject of cannibalism. Film historian Robin Wood sees the flesh-eating scenes of Night of the Living Dead as a late-1960s critique of American capitalism. Some critics say zombies reflect the return of the repressed. In this regard, zombies represent the younger generation of Americans in the late 1960s who wanted to overthrow traditions and replace them with a new social order. Romero explained that his movies are about revolution in the broadest sense in which a new society replaces the old and devours it. Night of the Living Dead is a horror film where all classical conventions have been cut out. The lead role of Ben was played by Duane Jones, an unknown black actor. Even the idea of a black hero at the time was something new and revolutionary. The surprising death of Ben at the end of the film offered audiences an uncomfortable, nihilistic feeling unusual for the genre. Dawn of the Dead, Romero’s second zombie film, is a satire on consumerism. In 1974, Romero was invited by his friend Mark Mason to visit the Monroeville Mall, which Mason’s company managed. That is where the idea of the film came from. A shopping mall is a quintessential suburban American symbol. In this movie, even the zombies can’t forget habits they had before dying. They wander aimlessly inside the mall just because they remember the place as an important part of their lives. They are the consumer zombies. As Peter says, “They are us.” Romero’s two films have had much influence on later zombie films. Edgar Wright’s Shaun of the Dead relates directly to the plots of Romero’s zombie films and the title is also both an obvious parody of and homage to the title Dawn of the Dead. The black-humored film, a so-called rom-zom-com, also brings a distinctive Englishness to the genre. Wright tries to deconstruct the traditional dichotomy between human beings and zombies by making zombies live with human beings as well as by making his characters imitate zombies in his film. Romero has been working outside of the Hollywood studio system for his entire career. He chose zombies to criticize the social ills and the abuse of power in the Western societies. They are regularly encountered in horror and fantasy themed fiction and entertainment as a symbol of subversion and resistance against the social decay of the modern society.

소내적 상상력의 실천과 변주: 김기택의 시, 데이비드 린치의 <스트레이트 스토리>

김진택 문학과영상학회 2008 문학과영상 Vol.9 No.1

This paper is an analysis of Ki Taek Kim’s poems and David Lynch’s film, The Straight Story, using the concept of de-alienation refined by philosopher Jin Sok Kim. De-alienation stands in opposition to transcendental speculation and to alienation found in traditional philosophy. A new grasp of philosophical boundaries is needed in order to understand de-alienation. This is, in part, because of many philosophical questions which arise during the interpretation of this abstract boundary. While drawing on the texts of Kant and Hegel, this paper attempts to grasp the somewhat dubious logic surrounding dialectical thinking and suggest new ideas to explain de-alienation. De-alienation needs to be understood as a new concept in existential philosophy and as one worthy of individual consideration. Through the vision of de-alienation it is possible to achieve a closer sense of things and beings, not only in theoretical areas, but also with an existential force. It is important to distinguish de-alienation from ethical concepts which unconditionally defend theoretical and practical attitudes from a distorted solitude. Even though Ki Taek Kim and David Lynch are not philosophers, we come to realize that their creative insights represent a remarkable penetration into grasping the veritable meaning of things. It is an imagination refined from a vision of de-alienation that is attested to through their serious and thought provoking works. This paper is an analysis of Ki Taek Kim’s poems and David Lynch’s film, The Straight Story, using the concept of de-alienation refined by philosopher Jin Sok Kim. De-alienation stands in opposition to transcendental speculation and to alienation found in traditional philosophy. A new grasp of philosophical boundaries is needed in order to understand de-alienation. This is, in part, because of many philosophical questions which arise during the interpretation of this abstract boundary. While drawing on the texts of Kant and Hegel, this paper attempts to grasp the somewhat dubious logic surrounding dialectical thinking and suggest new ideas to explain de-alienation. De-alienation needs to be understood as a new concept in existential philosophy and as one worthy of individual consideration. Through the vision of de-alienation it is possible to achieve a closer sense of things and beings, not only in theoretical areas, but also with an existential force. It is important to distinguish de-alienation from ethical concepts which unconditionally defend theoretical and practical attitudes from a distorted solitude. Even though Ki Taek Kim and David Lynch are not philosophers, we come to realize that their creative insights represent a remarkable penetration into grasping the veritable meaning of things. It is an imagination refined from a vision of de-alienation that is attested to through their serious and thought provoking works.

엠블럼의 현대성 (2): 이미지 시대의 담화 논리에 관한 정신분석학적 연구

류은영 문학과영상학회 2022 문학과영상 Vol.23 No.1

This series of studies, which is aesthetic and psychoanalytic considerations of the logic of discourse based on ‘emblem’ in the modern era of image, stems from the perspective that ‘emblem is an aesthetic form and psycho-philosophical content unique to image sign.’ This study illuminates the aesthetic and psychoanalytic logic of emblem that constitutes the form and content of image and comprehensively examines the concrete process of forming the symbolic meaning of emblem through analysis of text cases. This paper, the second result of a multi-year investigation for three years, is a study on ‘the psychoanalytic logic of emblem’, following the first study on ‘the aesthetic logic of emblem.’ While reflecting, from the psychoanalytic perspective, on the psycho-philosophical logic of emblem, that is, an image representing body-sensation-desire, we discussed in detail ’the psychoanalytic structure of emblem and the logic of formation of symbolic meaning of emblem.’ As a follow-up, the third study will be ‘a case study’ that goes further from the theoretical studies, and we will apply practical understanding of our two previous theoretical studies through literary texts that show the models of emblematic writing. Through this multi-year study, we will shed light on ‘the modernity of emblem’ along with ‘the aesthetic and psychoanalytic logic of emblem as a mode of discourse in the era of image’ and furthermore, will attempt to tentatively set forth ‘a literary vision in the era of image.’

영화 <멜랑콜리아>: 우울, 불안, 절망의 영화적 변주

안상혁 문학과영상학회 2017 문학과영상 Vol.18 No.2

Melancholia is composed of the first and second acts like the opera style. The first act is a story of Justin who leads the wedding to a mess, and the second act is the story of a sister Claire who gets into extreme anxiety as she finds out that planetary Melancholy rushes to Earth. Based on Aristotle's view that the prominent figures have a melancholic temperament, Justin is set to be a copywriter with a genius, artistic inspiration. But Justin is a character who acts strangely if he is caught in the dark madness of melancholy, and Claire is a character who corrects Justin rationally. Justin feels a strong existential doubts in the world that judges everything as a measure of capital that can be calculated, revealing the dark madness that latent on her. The melancholy and anxiety of Justin and Claire before the earth's end disaster, and the psychological state that sank in despair, are evident through the paintings embedded in the film. The last scene in which the planetary Melancholy clashes as if to pick up the earth represents the problem that our existential despair is not a matter of right or wrong. The conflict between Melancholia and the Earth implies that being in existential despair is the worst catastrophic disaster.