정신병적 캐릭터의 서사적 기능 연구 : 텍스트 구성과 관객 동일시를 중심으로 = A Study on Narrative Roles of Psychotic Characters : Focusing on Narration of Text and Identification of Audience

다국어 초록 (Multilingual Abstract)

Bordwell argued that there is no point of positing communication model, which Chatman had set up as a consensus within narrative studies, for studying the fundamental process to understand narrative movies. They conflicted each other over several issues: whether the communication process is one or two-sided; what an implied author means in context of narrative movies. The point of Chatman’s narrative transmission model is that narrative must be transmitted by an implied author and audience should re-construct the narrative in the movie with the help of piecemeal information in the text. This study takes advantage of Chatman's the implied author.
This study aims at studying on narrative Roles of characters, characters of <Bad Guy>, <Old boy> and <Secret Sunshine> based on Bordwell's narration theory and Lacanian subject theory. The objects of this study are Norman of <Psycho> and Wojin of <Old Boy>, Erika of <La Pianiste> and Hangi of <Bad Guy>, Bess of <Breaking the Waves> and Sine of <Secret Sunshine>.
In psychosis, the barrier between mother and child offered by that name is not erected in a solid enough fashion. The father figure does not succeed in limiting the child's access to the mother. the signifier is not able to neutralize the child's jouissance, and that jouissance irrupts into his or her life, overwhelming and invading him or her. The Name-of-the-Father does not hold its own in psychosis.
In perversion, the pervert's real penis is required to fulfill the child's access to the mother. Disavowal could be described as a defense mechanism, a defense against the father's demand that the child sacrifices jouissance. In Lacanian perspective, separation from mOther may be anxiety at the conscious level. but it is generally relieving at the unconscious level. His 'separation anxiety' reflects a wish to continue to obtain certain pleasures with her/his mother. but a simultaneous wish for an end to be put to that jouissance, since the latter engulfs him and stops him from coming into being as a desiring subject. Thus, his 'separation anxiety' is actually indicative of a wish for separation from his mother.
In neurosis, in both hysteria and obsession, obstacles are placed in the way any possible realization of desire. Desire thus does not seek satisfaction; rather, it pursues its own continuation and furtherance, it merely seeks to go on desiring. It might be objected that this is the case only in neurosis, because neurotics cannot pursue their own desire, due to inhibitions, fears, anxiety, guilt, and revulsion.
The obsessive thus views him/herself as a whole subject designated by the letter S without a bar through it, not as someone who is often unsure of what he is saying or what s/he wants-in other words, not as someone subject to lack. S/He fiercely refuses to see him/herself as dependent on the Other, attempting to maintain a fantasmatic relationship with a cause of desire that is dependent on no one, hence his/her predilection for masturbation, in which no other person is involved. The obsessive is complete unto her/himself. In this sense, we can even remove the bar on the subject in his fantasy, rewriting it as S◇a.
The hysteric, on the other hand, emphasizes the partner or Other, making herself into the object of the Other's desire so as to master it. The Other is the desiring subject in the hysteric's fantasy. In the hysteric's fantasy, the core of fantasy is the Other (), generally the hysteric's partner. for example, husband or boyfriend. The hysteric also identifies with her partner, and desires as she were him. In other words, she desires as if she were in his position, as if she were the Other. When Lacan says that ‘the subject's desire is the Other's desire’ that is "object a". one of things he means is that she desires as if she were someone else. The hysteric desires as if she were the Other, in this case. The subject in her fantasy is a◇.
Simply put, the difference between perversion and psychosis is alienation, and the difference between neurosis and perversion is separation. Without alienation, there is psychosis; alienation without separation leads to perversion; and alienation and separation without the traversing of fantasy lead to neurosis. The traversing of fantasy leads the subject beyond castration, beyond neurosis, into largely unexplored territory.
In a fiction film, narration is the process that the film's syuzhet and style interact in the course of cueing and channeling the spectator's construction of fabula. Thus it is not only when syuzhet arranges fabula information. Narration also includes stylistic processes. Narration is the dynamic interaction between the syuzhet's transmission of story information and the movement of stylistic masses.
<Psycho> and <Old boy> are the thriller genres made of restricted narration and unrestricted narration. Their styles all assist and exceed their syuzhets within the thriller genre. Norman of <Psycho> and Wojin of <Old Boy> relate to a near relative incest. Norman is engulfed within the mother. Wojin is filled with the images of his dead sister. They are the psychotics.
<La Pianiste> and <Bad Guy> all have a surrealistic method within narration and narrative. Erika of <La Pianiste> and Hangi of <Bad Guy> all are under superego's control. Erika has suffered from mother's repression. Hangi has taken a risk for disavowal could be described as a defense mechanism, a defense against the father's demand that the child sacrifices jouissance. Erika is the obsessive. Hangi is the pervert.
<Breaking the Waves> and <Secret Sunshine> all have disharmony of syuzhets and fabula. Their styles all help disharmony. Bess of <Breaking the Waves> and Sine of <Secret Sunshine> all emphasize the partner or Other, making herself into the object of the Other's desire so as to master it. The Other is the desiring subject in the hysteric's fantasy.

목차 (Table of Contents)

• Ⅰ. 서론
• 1. 연구목적과 의의 = 1
• 2. 선행연구와 연구방법 = 3
• Ⅱ. 본론
• 1. 이론적 배경 = 9
• 1) 보드웰의 서사이론: 내레이션과 스타일 = 9
• 2) 라캉의 주체이론: 주체화와 대상a = 17
• 2. 스타일의 공조와 과잉 = 24
• 1) 두 개의 플롯과 스타일의 공헌: <싸이코>의 노만 = 24
• 2) 내레이션의 역동성과 스타일의 공조: <올드 보이>의 우진 = 47
• 3. 내레이션과 내러티브의 초현실주의 = 71
• 1) 내러티브의 부조화와 스타일의 공조: <피아니스트>의 에리카 = 71
• 2) 내러티브의 아이러니한 조화와 스타일의 공조: <나쁜 남자>의 한기 = 88
• 4. 내용과 형식의 부조화 = 108
• 1) 스토리와 플롯의 부조화와 스타일의 공조: <브레이킹 더 웨이브>의베스 = 108
• 2) 내러티브의 부조화와 스타일의 공조: <밀양>의 신애 = 125
• Ⅲ. 결론 = 146
• 참고문헌 = 153
• Abstract = 158