영화 <블랙 스완>(2011)에 나타난 분열된 자아: 주인공 니나의 더블들을 중심으로

이정화 ( Jeong Hwa Lee ) 한국아메리카학회 2013 미국학논집 Vol.45 No.1

This paper aims to examine split self represented in Black Swan(2011) by discussing how the protagonist Nina in Black Swan projects herself onto her doubles for her self-actualization. As projection is a way of doubling, Nina tries to liberate herself from her own suppression through projection. Her suppression comes from her anxiety about personifying the Black Swan. At first, Nina projects her anxiety about the Black Swan role onto her mom, Erica, and Beth(old-self); Lily(id-self); Coach Brennan (mediator). Even though Nina(the White Swan) sees Lily(the Black Swan) as her id-self and tries to avoid her dark side, Nina realizes the Black Swan is in herself. Unmasking the White Swan mask, Nina performs the Black Swan role perfectly in the end. In other words, both of the White and Black Swan identities originally belong to Nina. Through meeting her doubles, Nina strips away all masks of self-deception. The psychic conflicts and the interaction of Nina`s doubles enable Nina to reborn. By showing Nina`s split self and doubles, Black Swan reveals the agony of such psychic process brings self-enlargement and growth of self.

영화 <블랙 스완>에 나타난 대타자의 파괴적 욕망 : 라캉의 ‘Object a’ 개념 및 욕망의 불가능성을 중심으로

구자룡 ( Ku¸ Ja-ryong ) 동국대학교 영어권문화연구소 2011 영어권문화연구 Vol.4 No.1

This paper aims at analyzing all the aspects of desire in the movie, < Black Swan > directed by Darren Aronofsky in 2010. The movie shows her struggle to face these various kinds of desires in a psychoanalytical way. Her mother, Erica wants her to be a white swan whereas the art director, Tomas wants her to be a black swan. Meanwhile, there appears an another black swan named Lily, and she affects Nina in a destructive way. Eventually, Nina stabs herself with a knife. The movie ends up showing ‘perfect Nina’ who completes both white and black swan's presence. In this article, I will critically analyze Erica and Thomas's desires through the concept of ‘Object a’ in Lacan's desire theory. In addition, I will explain the impossibility of desire through Autre's concepts of ‘surplus - jouissance,’ and ‘desire of phallus.’ After all, all these discussions are going to be the effort of work that tries to find out how a destructive desire works and where it comes from. This will share a similar concept of Lacan's “Che Voui,”. Is my desire really an actual desire of myself? Why am I being a someone else's desire, instead of being a desire of myself? Through asking and solving these questions, this thesis is going to point out the fact that there is no perfection or perfect ego, and this ‘illusion of perfection’ does have a destructibility.

<블랙 스완>(2013)의 몰핑 기술을 통해 본 포스트 시네마의 신경-이미지적 특징

장미화(Mi-Hwa Jang),문재철(Jae-Cheol Moon) 한국엔터테인먼트산업학회 2021 한국엔터테인먼트산업학회논문지 Vol.15 No.5

Digital morph expresses the imaginary beyond the representation of reality by expressing the narrative effect characteristically. In particular, the effect of affect can be considered to be a characteristic of digital cinema as a post-cinema. In <Black Swan> (2013), Morphing image prominently shows the characteristics of post-cinema. By actively utilizing software technology, this film gives a shocking effect by expressing the magical image. Paying attention to the post-cinematic characteristics of morphing different from classical film, this article treated the characteristics of digital morphing. The digital morphing presents the flow of affect visualizing uncanny phenomenon of body transformation. This evokes concept of neuro-image which Patricia Pisters distinguished the neuropsychiatric pathology that appears actively on the contemporary digital screen. The Neuro-image goes beyond the temporality of Deleuzes time-image presenting future. Allegedly, the morphing of <Black Swan> presents the neuro-images when Ninas body changed to hybrid body with black swan. Digital Morphing technique provides a shocking effect, showing delirium when the body bizarrely deformed while dancing ballet. This is different from the attraction of the morphing in film, it expresses the emotion of the neoliberal era beyond representation. In conclusion, the digital morphing presents the neuro-image system modulating the shock. This shows the characteristics of digital film which interacting and controling the shock effect as post-cinema.

무용 영화 「블랙 스완 Black Swan」(2010)을 통해 본 무용예술과 영화의 매체교체성 연구 - 그레마스 기호학을 중심으로 -

한지영 ( Ji-young Han ) 대한무용학회 2019 대한무용학회논문집 Vol.77 No.1

The purpose of this study is to analyze the 「Black Swan」(2010) which is commercial film based on dance art to examine the phenomenon of medium-replacement in the multi-media era. For this purpose, Greimas's semiotics view is applied as a intermedia analysis methodology. At result, the text of the movie is dynamic in a multi-interpretable semantic system, and it produces social discourse that is connected to the contemporary era by reflecting ideology. In addition, the audiences imagine themselves as subjects in the cinematic world, particularly the close-up shot emphasizes the concentration of main character's inner self by providing an extremely immersion experience. This social and artistic practice of 「Black Swan」 describes the way in which the representative classic ballet 「Swan Lake」 is accepted today.

해체된 신체: 여성 영웅 성장의 신체 서사 - 영화 〈블랙 스완〉을 중심으로 -

위안몽위,서곡숙 한국엔터테인먼트산업학회 2026 한국엔터테인먼트산업학회논문지 Vol.20 No.5

본 연구는 영화 <블랙 스완>을 분석 대상으로 삼아, 심리학적 관점과 신체 서사 이론을 기반으로 여성 영웅 성장의 특수한 양상을 고찰한다. 기존의 영웅 서사는 주체의 통합과 자기 실현을 중심으로 전개되지만, <블랙 스완>은 ‘신체의 해체’를 통해 성장에 도달하는 독특한 구조를 보여준다. 본 논문은 먼저 ‘해체형 여성 영웅’ 개념을 이론적으로 정의하고, 푸코의 신체 규율 이론, 메를로퐁티의 신체 지각 이론, 그리고 정신분석 이론을 결합하여 신체 서사의 분석 틀을 구축한다. 이어서 ‘규율된 신체–통제 불능의 신체–변형된 신체’라는 세 단계에 따라 주인공 니나의 신체 경험을 심층적으로 분석한다. 연구 결과, 니나의 성장은 주체의 통합이 아니라 신체와 심리의 극한 상태 속에서 이루어지며, 그 해체 과정 자체가 성장의 핵심 기제로 작동함을 확인하였다. 이에 본 연구는 여성 영웅 서사를 이해하는 데 있어 기존의 ‘통합 논리’에서 ‘해체 논리’로의 이론적 전환이 필요함을 제시한다. This study analyzes the film <Black Swan> from the perspectives of psychology and bodily narrative, focusing on the developmental trajectory of female heroes. Unlike traditional heroic narratives that emphasize self-integration, <Black Swan> presents growth as a process of bodily and psychological disintegration. By integrating Foucault’s theory of disciplinary power, Merleau-Ponty’s phenomenology of the body, and psychoanalytic theory, this paper constructs an analytical framework to examine Nina’s transformation through three stages: the disciplined body, the uncontrolled body, and the transformed body. The study argues that her development is achieved not through integration but through disintegration, suggesting the need to rethink female hero narratives in contemporary cinema.

영화 서사구조의 재매개적 배치에 관한 연구 영화 - <블랙스완>과 <버드맨> 비교를 중심으로 -

안근영,윤준성 한국기초조형학회 2016 기초조형학연구 Vol.17 No.2

This paper's Aim is to be examine about reproduction process of film's narrative structure. It is to has gotten output through which is examined to re-mediated assemblage which is combined Jay David Bolter & Richard Grusin‘s Re-mediation notion and Gilles Deleuze & Felix Guattaril‘s Assemblage notion based on comparative analysis of film <Black Swan> and <Birdman>. The two film is very similar to material and narrative structure and form of expression for film. It is wherefore, the two film is shared with tragedy of narrative structure. That is, the two film is composed to similar to narrative structure which to be made character's personality and role, thematic consciousness, ending etc. Nevertheless, Becoming independent each of the two film is caused by breaking the rule of narrative structure of tragedy. It is occurred by re-mediated standard of narrative structure. That is, new film's narrative structure is made by combining new genre and splitting chapter structure and differencing effect of character's role and personality. This is what it is reproduction process of film's narrative structure, it called re-mediated assemblage of film's narrative structure. Therefore the film <Birdman> is created by re-mediated assemblage of the film <Black Swan>'s narrative structure. 본 논문은 두 편의 영화 <블랙스완>과 <버드맨>의 서사구조의 측면을 유비적으로 고찰하여, 새로운 서사구조가 생성되는과정을 재매개적 배치의 개념으로 논고하려 한다. 재매개적 배치의 개념은 본 저자가 제안한 개념으로 볼터와 그루신의재매개 개념과 들뢰즈와 가타리의 배치의 개념을 혼용한 것이다. 이 개념을 토대로 두 영화가 서사구조의 유사함을 보임에도 전혀 다른 영화로 인식되는 원인을 탐구한다. 그리하여 영화 <버드맨>의 서사구조는 <블랙스완>의 서사구조에서 재매개적 배치에 의해 창작된 서사라는 것을 밝힘과 동시에, 영화 서사구조의 재생산 과정에 대한 다른 시선을 제시하는 것이 목적이다. 두 영화는 비극의 서사구조 형태를 공유하고 있어, 이 구조를 이루는 등장인물의 성격과 역할, 주제의식, 결말 등이 유사하게 재매개 되어있다. 그럼에도 두 영화가 각각의 독립적인 작품으로 인정받는 원인은 비극이라는 서사를규정하던 조직화/유기화(구조)의 틀을 부수고, 강도-연속체(새로운 장르의 방향 그리고 혼효된 성향의 새로운 배합)흐름으로 들어갔기 때문이다. 이것은 영화 서사구조가 기준이 되는 영화 구조들을 토대로 기존 구조를 재매개 하면서 새로운장르와 접속하고 장 구조를 분열하며, 등장인물의 역할과 성격에 차이를 통하여 새로운 이야기로 탄생하는 것이다. 이것이 영화 서사구조가 재생산되는 과정이며, 이를 영화 서사구조의 재매개적 배치라 한다.

영화 속 인형 – 정념의 이미지기호 - 파스빈더, <블랙 스완>, <하녀>를 중심으로 -

배상준 한국영상학회 2013 한국영상학회 논문집 Vol.11 No.1

The purpose of this study is a semiotical analysis of puppet as props of mise-en-scène in film. Above all, this study analyzed the examples of the function of puppet, which as image-symbol besides the first function as toy or decoration visualize the psychology and the inner world of characters. Because the puppet in film offers by the shape for the reminding of the relation between reality and unreality the readability of image more effective than any props of mise-en-scène. The image of puppet embodies the inner world of characters, especially the desire and possessiveness, the eager for the conquest and domination in the narrative context, and wakes a semiotic process sometimes by visualizing the absent individual ontological status in the fragmented human relations and the lose of identity. The puppet as a visualized inner-ego reveals the emotions set in the deep structure of characters and thus functions as image symbol of passions. 본 연구는 영화의 미장센에 소품으로 등장하는 인형을 기호학적으로 분석하였는데, 특히 인형이 완구 및 장식으로서의 1차적인 기능을 넘어서서 등장인물의 심리와 내면세계를 시각화하는 이미지기호로서 기능하는 사례를 살펴보았다. 영화 속의 인형은 현실과 비현실의 관계를 상기시키는 형상을 통해서 미장센의 그 어느 소품이나 장식품보다 더 효과적으로 이미지의 가독성을 제시하기 때문이다. 인형의 이미지는 특히 서사적 맥락 속에서 캐릭터의 내면, 즉 욕망과 소유욕 그리고 정복과 지배욕을 형상화하고, 때에 따라서는 파편화된 인간관계에 결여된 개개인의 존재론적 지위와 정체성의 상실을 시각화함으로써 기호작용을 일으키게 된다. 시각화된 내면의 자아로서의 인형은 이렇게 캐릭터의 심리적 심층구조에 자리 잡은 정서를 드러냄으로서 정념의 이미지기호로 기능하게 된다. 인형기호는 바로 이러한 의미에서 등장인물과 그들의 내면사이에 그리고 감독과 관객 사이에 위치하며 기호작용을 일으키고, 이를 통해 상징적인 중계자의 역할을 하게 되는 것이다.

탈모성권력을 통한 주체화 과정의 영화적 재현

박종덕(Park, Jong-duck) 신영어영문학회 2017 신영어영문학 Vol.67 No.-

The purpose of this paper is to analyze the cinematic representation of struggling aspects for the subjectivation presented in The Piano Teacher and Balck Swan. In her object relation theory Melanie Klein claims that the first relationship between mother and infants is significant for survival and comfortableness since one´s birth but the solid relationship should be broken up for the subjectivation. In the movies mothers deliberately delay the daughters’ process for subjectivation, and confine daughters to mothers’ rooms where mothers implant their unfulfilled desires and force daughters to perform daughters’ duties. Daughters Nina and Erica, whereas, are struggling to find out the lines of flight for subjectivation as an independent and separate being. This paper analyzes the aspects of cinematic representation focusing on the relationships between violent and dominant mothers and rebellious and resistant daughters.

내사된 욕망을 반영하는 깨진 거울의 공간 - 영화 〈블랙 스완〉(2010)의 분석을 중심으로 -

류범열 ( Ryu Beomyeol ),양세혁 ( Yang Sehyeok ) 한국영상미디어협회 예술과미디어학회 2021 예술과 미디어 Vol.20 No.1

This study focuses on the fact that < Black Swan >(film 2010), as a follow- up study on the subject of ‘The Characterized Space by Introjected Desire’, built the characterized space by ‘reflection of shattered mirror’. Through the assumption that numerous mirrors and fragmented reflections depicted in high frequency are metaphors for the character's psychodynamic, the study tried to analyze ‘the pattern of characterized space’ and ‘the strategy of characterizing the psychodynamic of the protagonist as a space’. First, by connecting the characteristic of the mirror reflections observed linearly with the point where the desires of the main characters intersect, the meaning could be summarized as follows. 1) The Pattern of the characterized space was: ① It present a perspective as if seeing the world reflected in shattered mirror by creating fragmented or distorted images through various mirrors, windows, paintings and hallucinations. ② The reflection images of the shattered mirror is gradually replaced from the description of reflection mainly by physical mirrors to the description of psychological reflection such as hallucinations. 2) The strategy of the characterized space was: ① The spaces where Protagonist Nina's mother and the head of her ballet company's opposing desires are introjected to her, that is, Erica's space and Leroy's space were structured as the reflection space of shattered mirror dominated by the desires of others. ② Both spaces each contained the subspaces for Nina such as a bedroom and a principal’s dressing room, but her inner covertness was not preserved at all. The conclusions drawn from the analysis were as follows. < Black Swan > provided a distorted perspective of the protagonist through the characterized spaces by reflection of sahttered mirror. In this way, it visually expressed the phenomenon that Nina trapped herself by the introjection, and implies that the environment that oppressed her by clashing against each other at the opposite point was objectified through cognition of the introjection. In other words, through the metaphorical act of Nina pulling out the shattered mirror piece stuck in her abdomen, she was finally freed from the desires of the others, and that this process of psychodynamic was reinforced by the strategy of the characterized space.

Implementation of a Joint System for Waves and Currents in the Black Sea

Toderascu, Robert,Rusu, Eugen Korean Society of Ocean Engineers 2014 International journal of ocean system engineering Vol.4 No.1

The objective of this paper is to present the implementation of a joint modeling system able to evaluate the propagation of the polluting agents in the marine environment. The system is composed by circulation model (Mohid) and a spectral wave model (SWAN). The results coming from the circulation model are provided as input to the SWAN simulations. Following this target the Mohid water circulation model was implemented and calibrated in the Black Sea basin. The current simulations were run for one year (2010) with a time step of 24 hours, using wind fields from ECMWF. The results concerning the current fields were introduced into SWAN, and the difference between the results of the SWAN simulations with and without the current input from Mohid was assessed. In this regard, 10 points where the significant wave height difference is higher were considered and analyzed. The conclusion of the work is that such a joint system provides more reliable results concerning the wave and current conditions in the Black Sea as it is very useful in providing the support in the case of the environmental alerts that may occur in marine environments.