‘유목민?되기’로서 영화 연구: 〈소공녀〉와 〈노매드랜드〉를 중심으로 = A Film Study as ‘devenir?nomade’: Focusing on 〈Microhabitat〉 and 〈Nomadland〉

다국어 초록 (Multilingual Abstract)

As film criticism and research from a feminist perspective have been actively conducted from the 1970s until now, the positions of female films, directors, and characters have been expanded. Accordingly, recent research trends focus on “Is an individual film a women’s film or not” and try to clarify “What is a women’s film?” While this paper acknowledges the achievements of these studies, concerns remain over the dichotomy of the discussion. It is because attempts to define what a women’s film is while excluding other positions can overshadow the efforts of those trying various strategies for women’s films. Thus, this thesis argues that criticism and research should focus on “what kind of movie shall be my aim?”
Focusing on “films that deal with female characters as ‘devenir–nomade’” as the goal, this thesis analyzes 〈Microhabitat〉 and 〈Nomadland〉 which are its representative works. 〈Microhabitat〉 Miso and 〈Nomadland〉 Fern’s leaving the road is breaking free from servitude. To conduct such an analysis effectively, this thesis uses Deleuze’s ‘rhizome,’ ‘devenir,’ and ‘nomadisme’ as a methodology. The core of this concept is an effort to find new conditions for existence by resisting the oppression of life as a standard or principle, thereby maximizing the power of life.
According to this point of view, the core of 〈Microhabitat〉 is the ‘n-1’ world created by Miso. Deleuze describes the rhizome as ‘n-1.’ This is in the sense that when the logic is set to 1 as the same that starts from one and converges back to one, subtracting that 1 can lead to a manifold. When the standard that suppresses Miso and members of society such as one must attend a certain university, get a job at a certain age and get married is 1, Miso means to escape from that standard. Thus, the world of Miso in ‘n-1.’
On the other hand, the core of 〈Nomadland〉 is Fern’s journey as a nomad. Nomads create something unexpected while drawing a line that deviates from the established path and leads to another place. As a result, a life that has been blocked by walls and dug into grooves can flow in all directions. Just like nomads who create something new only in the point of indiscernibility, such images appear in Fern’s journey. Wandering from here to there without leaving her destination, Fern forms a relationship that allows her to escape from her own life trapped in the memories of her past. At the end of the film, she sets out on her path again, freeing herself from her memories that make her live in the past.
Such an analysis is only an example. That female characters, films, and directors continue to converge into the category of  ‘woman’ emphasizes that women are still called according to the standards set by society. Therefore, in place of the conclusion, this thesis leaves a follow-up task with the hope that the female figure will be called an individual research object instead of the woman and expand the way of existence.

목차 (Table of Contents)

• Ⅰ. 서론 1
• 1. 연구 목적 1
• 2. 연구 대상 5
• 3. 연구 방법 10
• Ⅱ. '-되기'와 '유목론' 14
• 1. 주체성의 생산 14
• 2. '리좀'과 '-되기' 17
• 3. '전쟁 기계' 또는 '유목론' 20
• Ⅲ. <소공녀>: 'n-1'로서 미소의 세계 24
• 1. 프레임으로부터 탈주하는 인물 24
• 2. 자유로운 행동과 새 이미지 29
• 3. 변화의 불씨로써 등 이미지 34
• Ⅳ. <노매드랜드>: '유목민'으로서 펀의 여정 39
• 1. 프레임으로부터 탈주하는 인물 39
• 2. 탈주 과정에 나타난 유목민의 공간 47
• 가. 생성하는 바다 이미지 47
• 나. 이동하는 돌 이미지 49
• 3. 정체성을 허무는 이미지 54
• 가. 밥 웰스의 이중성 54
• 나. 차이를 드러내는 불과 등 이미지 58
• Ⅴ. 결론 62
• 참고문헌 66
• 부록: <노매드랜드> 펀의 이동 경로 71
• ABSTRACT 72