트랜스-로컬에 관한 이론과 영화적 적용 = Theory of Trans-locality and Practice of Asian Films

다국어 초록 (Multilingual Abstract)

What is trans-locality? Concept of Trans-local cinema is reallypossible? Local/ locality significantly promoted the study of the currentcondition. But relatively, the study of trans-local/ trans-locality is not yetcompleted. Set aside the fact that the discussion of two concepts is notpossible separately. Orientation of the study on Local/ locality aim attrans-local/ trans-locality ultimately, because it is directly linked toresearch in the end.
So why trans-locality is? Trans-locality simply is not the concept whichconfined to the dimensions of the transgression of borders, that is, not theambiguous space crossing the experience and the action. It is a kind ofspatial relationships which is created by the interconnectedness of manythings in a move. This is a very important premise. If you look to payattention to the Diaspora in the correlation of the local residents, awayfrom the center of the existing home country (national), the priority oflocality of diasporic space in which the natives and diaspora migrantsscrambled in a daily living will be emphasized.
In this paper, I will choose some foreign films and Korean films thatdealt with the trans-locality, or with respect to the handle it can bedeployed in discussions, examine the applicability of the theory of thetrans-locality to films, and ultimately grope for practical alternatives.
Director Lee Jang-ho’s <Myong-Ta Akiko Sonia> deals with the periodof Japanese occupation, and depicts the bitter life and the pain of Korean people who forced to leave the homeland not by the voluntary intention,but by the national compulsion, to immigrate into Japan, and then into theSoviet Union. In contrast, Director Peter Chan’s masterpiece <Comrades:Almost a Love Story> deals with two people who leave their hometownof Guangzhou Mainland China via Hong Kong apart from eventuallymigrating to the United States to New York, but their regional identity(locality) intact.
The Korean movie of director Bae Chang-ho, <Deep Blue Night> isamong the first dealing with the problems of illegal immigration in thefront, and therefore became a topic. Of course, the movie <Deep BlueNight> is not the work which trying to show the reality of the collectiveKorean immigrants. Because it is a kind of tragic melodrama which tryingto prove the hero’s ambitions and frustration in the threshold of successin the United States the land of opportunity. Director Song Hae-sung’s<Failan> is a story about Chinese woman who came to Korea, andmarried the gang in a disguised marriage, and then lived a solitary life. Inthis movie, joys and sorrows of life of a foreign woman who havesuffered in unlawful immigration, were portrayed very realistically.
Director Clint Eastwood’s series films <Flags of Our Fathers> and<Letters from Iwo Jima> show the model of the trans-local cinemaproduced in the United States. Because these films are trying to heal thewounds of war in the eyes of the other person’s point of view. Inconclusion, I’d like to say the following things. A study of trans-localitywill be an alternative of national discourse.

참고문헌 (Reference)

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