한국 대중문화론·대중문화 통사 서술의 동향 연구: 주요 단행본과 논문을 중심으로

유창연 ( Yoo Chang Yeon ) 영상문화지평연구소 2023 반영과 재현 Vol.6 No.-

This paper is the result of a discussion that examines the narrative trends surrounding Korean Popular Culture theory and Popular Culture history. Through this, I would like to clarify and examine the meaning by reviewing popular culture theory and popular culture syntax descriptions overall. Although popular culture should be a medium and culture that an unspecified majority can enjoy without accumulating any knowledge, this point is overlooked and the tendency of the discussion to lean toward a specific trend is clearly limited. Based on this awareness of the problem, this paper aims to pay attention to the following points by examining the development process of popular culture discourse and popular culture syntax descriptions in Korean society. In other words, by looking at the discussion and narrative trends related to the formation process of Korean popular culture, the relationship between the process of forming and expanding the scope of the public and the process of forming popular culture as a cultural subject is examined.

린 램지(Lynne Ramsay) 감독론: 삶과 죽음, 현실과 환상 가운데 드러나는 사회비판적 시각

안정윤 ( An Jeong Yun ) 영상문화지평연구소 2022 반영과 재현 Vol.4 No.-

Lynn Ramsey was born into a working class family in Glasgow, Scotland, and majored in photography, painting, filming and directing at Napier College and the National Film School in England. She directed a total of four feature films from 1999 to 2017. She inherited the British and Scottish cinematic traditions and developed her own directing techniques. However, there is a lack of research on her and her work in Korea. This study attempted to investigate the consistent trends revealed in Lynn Ramsey’s feature films Ratcatcher(1999), Morvern Caller(2002), We Need to Talk About Kevin(2011), and You Were Never Really Here(2017). Lynn Ramsey’s film reveals the following three characteristics. First, starting with criticizing the negative reality of Scotland, it deals with a wider range of subjects such as women’s lives, wars, and domestic violence. Second, life and death function as an important factor in the development of the story. Third, the narrative unfolds with a mixture of reality and fantasy. These points complement existing research on Lynn Ramsey and at the same time have the significance of encompassing all of her feature films.

영화 < 아무르 Amour >의 소리가 드러낸 바깥, 그리고 비가시적 차원: 미셸 시옹의 ‘영화의 소리’ 이론을 중심으로

이승엽 ( Lee Seong Yup ) 영상문화지평연구소 2023 반영과 재현 Vol.5 No.-

What the sound of Amour reproduces is a very realistic sound that we can always hear around us. So, we will be able to recall mental images related to sound more easily. Nevertheless, it can be said that the sound of this film is still expressed. Amour stimulates our senses through sound and allows us to perceive the dehors. The dehors revealed by this sound is not concealed, but it is an invisible stratum and dimension. The power of film is the power to reveal the existence of the dehors and lead us to reason by recognizing it. However, there are difficulties we face before reaching this conclusion. First of all, since sound has no clear form, it is not easy to understand and logicalize the sound function of Amou>. Therefore, the sound of Amour will be grasped based on the theory of the ‘sound of cinema’ categorized by Michel Chion. His classification of sounds is very good, but the sounds of Amour often deviate from that type. Although it will be supported by various theories, the most central question is still the same as Michel Chion’s question, “What do I see in what I hear?” and “What do I hear in what I see?” This thesis will separate the audiovisual elements of Amour into fragments, analyze the sound elements, mainly voice, music, and sound effect, and confirm how these sounds relate to images. In addition, we will find out what this film presents to us in what way of expression.

일제 식민지 시기 전염병 발병과 ‘미신굴’ ‘위생조합’의 길항(拮抗): 1918∼1929년을 중심으로

김성연 ( Kim Sung Yeon ) 영상문화지평연구소 2023 반영과 재현 Vol.6 No.-

The purpose of this study is to examine Japan’s quarantine control method based on Western clinical medicine and modern science, and to explore explosive shamanism beliefs during the same period to capture cracks in hygiene thoughts. Most of the studies on pandemics and control during colony of Japanese Imperialism dealt with the symbolic alliance between colonial power and germs, focusing on Japan’s coercive hygiene administration and sanitary discourse, or focused on the thesis of Dr. Schofield, a bacteriologist at Severance Medical School. However, just as the Black Death broke out in Europe in the 14th century and changed people in the social order of manor and church, the unfamiliar pandemic that occurred during the Japanese occupation could serve as an opportunity to escape the ruling system. Therefore, it is necessary to examine what kind of escape the colonial Koreans had in spite of the efforts of the Japanese imperialists to increase their control in the wake of the epidemic. The Japanese Empire tried to neutralize folk remedies, shamanism, etc., and tried to create a new body concept through a hygiene combination system along with various hygiene discourses. However, as hygiene became important, fear of death became worse and became more dependent on shamanism. In line with this trend, shamanism has changed from a form of sharing the good and bad of the community to a form of concentrating on the good and bad of the individual, and a new form of shamanism has emerged. Focusing on this fact, this study analyzes how modern hygienic thought of Japan and shamanism of Joseon confront and coexist.

영화 < 경멸 Le Mépris >의 디스포지티브와 자기반영적 전략 연구

김희진 ( Kim Hee Jin ) 영상문화지평연구소 2023 반영과 재현 Vol.6 No.-

Jean-Luc Godard’s < Le Mépris >(1963) is an adaptation of Alberto Moravia’s ninth novel 『Il disprezzo』(1954), and at the same time, it is a work that welcomes Roberto Rossellini’s movie < Viaggio in Italia >(1953). Godard’s < Le Mépris > is considered to be the most radical and active use of the subject of self-reflection. Godard composes a movie by using the mise en abyme cast structure, which plays an important role in ‘the film in the film’. This reveals the fictitiousness of the film and the non-fictitiousness of the dispositif through the process of film, reality, and feature film production, which can be said to break down the dominant ideology of the film. The specific self-reflection strategy of < Le Mépris > can be divided into three major strategies. The first strategy is the use of mise en abyme. By showing the production process and screening of the < Odyssey > ‘movie in the movie’, it replaces the dispositif of the movie as a means of exposing ideology. This strategy strengthens the criticism of the ideology of the film, while causing the audience to recognize the big system that dominates the film production. The second strategy is the decontextualization of the original through adaptation. Godard changes the name and nationality of the character and compresses the time of the play while maintaining the theme, narrative structure, and space of the original work, and also transforms the narrative into tragedy and shows the production process of the film < Odyssey >. The production process of < Odyssey > is not revealed in the original work. This is because, unlike the original work which focused on the emotions between the couple, it focuses on the ‘film’ itself, which acts as a strategy to criticize the Hollywood system and capitalist ideology. The third strategy is intermediary with other media. The citation of literary works, the fusion and transformation of art and film can be seen as a transformation of dispositif, a rejection of Hollywood film production methods, and a strategy of arranging heterogeneous elements that distort the conventions of Hollywood movies. In addition, each media in the film not only composes the scene of the film, but also produces meaning through criticism and self-reflection of the creator, and is deeply involved in the abyss of the interaction between the film and the audience. Intermediality with other media used as a transformation of dispositif can be said to be in contact with Godard’s cinematic strategy and self-based spirituality as a strategy to dismantle dominant ideology. Such a self-reflective strategy hinders the capture of the dominant ideology due to the ideological effects of the film dispositif, presenting the movie image of the new reality itself to the audience, and can be seen as a criticism of the film industry and production and a field of self-reflection.

한국 호러 영화 속 ‘여귀(女鬼)’ 의 정체성 연구: <여고괴담> 시리즈를 중심으로

안정아 ( Ahn Jung Ah ) 영상문화지평연구소 2023 반영과 재현 Vol.6 No.-

This article began with a review of the identity of the extinction and recall (or return) of identity, that is, the “the dead”. If it is a trans identity that discusses how the character’s identity is converted and what issues and discourses arise in this process, I think this concept should also be applied to the analysis of supernatural beings in the horror genre. Horror movies, especially occult movies featuring supernatural phenomena and existence, have a different distinction from other genres in that they deal with (or lead the play) the “dead” or returning from death. In other words, the existence of “evil,” which is a relatively anti-gonist in occult movies, is a unique setting that resurrects after the disappearance of identity (death), or that the identity resides in another completely different medium (body). In order to apply Trans-identity in such a variety of genres, the relevant sub-concepts and terms must be continuously presented and expanded. Therefore, it is necessary to organize and define how to deal with the identity of the dead in horror movies, especially occult movies, through concepts such as death, extinction, revival, and return. The singularity of the fact that existence was extinguished by death and then recalled again, and the exploration of the identity of a character who deviated from normality, will also be a study of marginalized non-mainstreamers, that is, others. As a result, we would like to apply the concept of Trans-identity to the ultimate and complex other of the character “female ghost(女鬼)”. Accordingly, we would like to analyze by applying the method of Trans-identity storytelling for the character “Female ghost(女鬼)” focusing on < Whispering Corridors > a representative horror film series in Korea.

한국 SF영화 속 인공지능 캐릭터에 재현된 타자화된 표상들: 영화 <정이>를 중심으로

서의석 ( Seo Ui Seok ) 영상문화지평연구소 2023 반영과 재현 Vol.5 No.-

This study is to examine the attitude of the film media in the future prospects of the rapid development of artificial intelligence technology, which is the core technology of the 4th industrial revolution. In particular, from the perspective of looking at artificial intelligence, how the film reproduces the existence of artificial intelligence is intensively explored through comparative analysis of existing Hollywood Science fiction films and Korean Science fiction film. The universal narrative of the Science fiction films genre is mainly about reproducing the relationship between science and technology and humans by borrowing scientific materials about a phenomenon that occurs in another world or a transformed world outside the framework of time and space that we generally know. Becomes the frame of In particular, as a movie based on artificial intelligence reveals contradictory real society from a critical point of view, it does not just look at artificial intelligence as a mechanical being, but proves the superiority of humans by making these beings social others. Through the process of confirming the identity of the liver, it has the purpose of confirming the essence of human beings once again. Artificial intelligence in Korean SF films that are being produced recently also goes through this process of being othered, and it can be said that it tries to discriminate by creatively reproducing Korean characteristics in the narrative aspect. Through this method of representation, the film helps us understand the essence of human beings, and furthermore, it can be seen as talking about the possibility of coexistence that humanity, which has lived in constant relationships, must form a new relationship with human creatures.

Hollywood’s Progress and Limitations in the Representation of Asians: Focused on < Everything Everywhere All at Once >

강나경 ( Kang Na Kyung ) 영상문화지평연구소 2023 반영과 재현 Vol.6 No.-

This article analyzes the film < Everything, Everywhere, All At Once > from a cultural imperialism perspective and discusses the progress and limitation of Hollywood’s representation of Asian. In addition, it scrutinizes the series of events surrounding the film < Everything, Everywhere, All At Once >, which won the Best Picture, Best Actress, Best Supporting Actor, Best Supporting Actress, Best Director, Best Screenplay, and Best Editing awards at the 95th Academy Awards, all through the lens of cultural imperialism. Since 2020, Hollywood has actively embraced Asian cinema, Asian filmmakers, and Asianess under the guise of promoting diversity, often positioning itself as a judge of other cultures. It can be argued that the awards given to Malaysian-Chinese actress Michelle Yeoh for Best Actress and Jonathan Ke Quan for Best Supporting Actor reflect an imperial gaze towards Asians within the United States, beyond the Asian characters depicted in the film. Hollywood endows artistic prestige upon Asian films or filmmakers that embody American ideals of Asianess and solidifies the archetypal Asian model minority, perpetuating a legacy of traditional family values and success. Furthermore, the moving acceptance speeches of the award-winning actors reveal the illusion of the American dream and reinforce Hollywood’s cultural imperialistic agenda. This article will also delve into the critical and practical stance that the Asian film industry should adopt in response to these phenomena.

트랜스미디어 콘텐츠(Transmedia Contents)에서의 이야기 몰입(Narrative Transportation) 양상

김희경 ( Kim¸ Hee Kyung ) 영상문화지평연구소 2023 반영과 재현 Vol.5 No.-

This study identified which models and elements are needed for the audience’s narrative transportation in transmedia contents and how they affect each other. Narrative transportation means that when the audience encounters the content, they move from the real world to the fictional or virtual world of the content and fall into that world. Research on narrative transportation and each of transmedia contents has been steadily progressing, but most of these studies establish concepts, story development behaviors, or case studies. Therefore, this study was conducted based on the fact that there is no research on narrative transportation in transmedia contents in Korea, and most of the research is centered on psychology or brain cognitive science abroad. To this end, the definition of narrative transportation was first introduced, followed by the transmedia multi-platform, multi-narrative thread, narrative transportation model, and the application behavior of transmedia content components for understanding the narrative transportation model. This study is meaningful in figuring out what the components of transmedia content are for audiences to be immersed in the story, and it is expected that the research area of transmedia content will be expanded through this.

목소리와 언어 사이를 횡단하는 이주노동자의 삶: <믿거나 말거나, 찬드라의 경우>를 중심으로

금순미 ( Keum Sun Mi ) 영상문화지평연구소 2023 반영과 재현 Vol.5 No.-

Migrant workers who began pouring into the country in the 1990s were workers brought by the Korean government from abroad to solve the severe manpower shortage in the Korean industry. They mostly worked in 3D industries and had to face discrimination and disgust due to their different looks and low social status from Koreans. Korean industrial workers and objects of contempt at the same time were classified on the ambiguous border of exclusion and belonging in Korean society. This article deals with the documentary film < Believe it or not, the case of Chandra >, based on the real story of a Nepalese woman named Chandra Kumari Gurung who came to Korea through the overseas industrial trainee system in 1995. I would like to examine how the double standard of exclusion and belonging to Korean society looking at migrant workers was embodied through the work. Chandra is mistaken for a psychopath because of her poor Korean language and is imprisoned in a mental hospital for five years and four months. The new name “Sunmiya” obtained there is a double view of Koreans looking at migrant workers. In other words, it can be said that the name reflects the view of exclusion as a person belonging to Korean society and on the other hand, not a complete Korean. Also, the decisive cause of her diagnosis as a psychopath was her native language, Nepali, which is not a language with the same power as Korean or English in Korean society. The concept of language, which is redefined through the relationship of power rather than language as a means of communication, is defined as the relationship between the voice (Phone), the language of animals, and the language (Logos), the language of humans, as Aristotle said. Accordingly, Chandra’s Nepali language was a phone, not a language (Logos), in Korean society, and voices other than those in power were completely excluded from public power. If most of the studies on migrant workers focus on how the cold gaze and indifference experienced in Korean society are reproduced, this study is significant in that it focuses on how the dual standards of Korean society are reproduced through language.