한국 독립 다큐멘터리 영화의 대항기억 재현에 관한 연구 = A Study on the Representation of Counter memory in Korean Independent Documentary Films

다국어 초록 (Multilingual Abstract)

This dissertation explores the meaning of the representation of counter memory in Korean independent documentary films. I have had a critical mind about the historical films which had been made in Korean film industry field since 2000s. In some respects, these historical films have some affirmative aspects in that they are the evidences of expanding of the civil society and the political democratization in Korea. But I don't approve of the point of view of representing history and the traumatic memory in these commercial historical films. Can you trust the causal relationship between the violence of history and the victims which these commercial films show? Or can you believe that such traumatic events can be explained or described through a transparent language such a realism style and a narrative? These questions led me to theme of this thesis. My questions are as such in this dissertation :
What kind of representational mode do the commercial historical films use to represent the traumatic historical events and memory? Can the realism style represent the traumatic memory correctly and ethically? Among these questions, the most important question is "How can we represent the inexpressible?" Through the experience of Holocaust, we came to know that the traumatic memory of extreme repression and violence cannot be represented through the general linguistic expression. And this realization provide a significant reflection on the traumatic Korean modern history.
Although some commercial film makers have made a few important historical films recent years, it is the Korean independent documentary film makers who really have produced the counter memory and alternative history through films and videos since 1980s. Korean independent documentary film makers started their carrier as the social activists and still doing their works as the activists. They try to find and make visible the social minorities who have been expelled and made invisible through the official history. They console and mourn for the victims of the violent history by the medium of the documentary films and videos.
This dissertation explore how Korean documentary films have made the counter memory and have made the alternative history writing. It is especially focused on the documentary texts of the 2000s. And This dissertation will demonstrate that the counter-memory can be produced through the alternative representational style. For this purpose I used the two methodological concepts, which are 'memory' and 'style'. With the help of these concepts, I analyzed six Korean documentary films. The documentary texts that I analyzed are <Songwhan>(Kim Dong-won, 2004), <The Past is the Foreign Country>(Kim Eung-Soo, 2008), <Words Kept in a Stone>(Na-Roo, 2004), <My Heart Is Not Broken Yet>(Ahn, Hae-Ryong, 2008), <Grandmother's Flower>(Moon Jung-Hyun, 2007) and <To Find Tiger Kim>(Ku, Bon-Hwan, 2006).

목차 (Table of Contents)

• I. 서론 = 1
• 1. 연구목적 = 1
• 2. 선행연구 검토 및 문제제기 = 10
• 3. 연구대상 및 연구방법 = 15
• II. 기억이라는 역사들 = 19
• 1. 기억 연구와 역사의 만남 = 19
• 2. 기억의 유형 : 사회적 기억과 문화적 기억 = 29
• III. 대항기억 매체로서 한국 독립 다큐멘터리 영화 = 38
• 1. 독립영화 정체성에 대한 논쟁 = 38
• 2. 1997년 이후, 독립영화 환경의 변화 = 43
• 3. 생활세계 정치로의 진입 = 48
• IV. 한국 독립 다큐멘터리 영화의 쟁점들 = 52
• 1. 독립 다큐멘터리 영화의 시점 및 목소리 변화 = 52
• 1) 다큐멘터리의 메타언어, 보이스 오버 내레이션 = 52
• 2) 한국 독립 다큐멘터리 영화에서 보이스 오버 내레이션의 변화 = 57
• 3) 카메라-나(camera-I)의 부상 = 61
• 2. 독립 다큐멘터리 영화의 역사 기술 = 65
• 1) 보철로서의 역사 기술 = 65
• 2) 개인사 쓰기를 통한 역사 기술 = 67
• 3) 일인칭 시점에서 쓰는 보철로서의 역사 = 68
• V. 재현 불가능한 기억을 재현하려는 시도 = 70
• 1. 보철로서의 역사, 위안부를 기억하는 방식 : <나의 마음은 지지 않았다> = 70
• 2. 공적 역사와 사적 기억의 만남 : <백두산 호랑이를 찾아서>와 <할매꽃> = 79
• 3. 휴머니즘이라는 불가능한 서사와 치유의 윤리 : <송환> = 95
• 4. '민중 카메라-나', 발화주체의 외상적 기억 : <돌 속에 갇힌 말> = 104
• 5. 흔적의 서사 : <과거는 낯선 나라다> = 113
• VI. 결론 = 123
• 참고문헌 = 127
• Abstract = 135