폐허 공간의 시학적 재구성 연구: 고레에다 히로카즈의 <괴물>을 중심으로 = A Study on the Poetic Reconfiguration of Ruin Spaces: Focusing on Hirokazu Kore-eda’s Film Monster

다국어 초록 (Multilingual Abstract)

This study examines the ruin spaces in Kore-eda Hirokazu’s Monster – the derelict train car, tunnel, and forest – through Gaston Bachelard’s The Poetics of Space. Moving beyond prior discussions of multi-perspective narrative, school violence, and queer friendship, it reads these sites not as mere background or “danger zones,” but as existential shelters where wounded children dream, hide, and reconfigure themselves. Drawing on Bachelard’s concepts of the “nest,” “intimate space,” “intimate immensity,” and “topoanalysis,” the analysis explores how spatial experience is interwoven with the film’s thematic structure.
The abandoned train car functions as a maternal, “soft and rounded” microcosm that gathers the children’s bodies, memories, and daydreams, reversing its status as social waste and turning ruin into a “happy space.” The tunnel, related to Bachelard’s images of the cellar and darkness, becomes a psychic abyss in which Minato’s self-hatred and the “monster” stigma condense, and where shouts and echoes emerge as pre-linguistic cries. The forest is read as a paradigmatic “intimate immensity,” a new universe that the children enter after the “big crunch,” shrinking vast nature into a shared, private cosmos. The study argues that these ruin spaces operate as intimate universes of radical immanence, where children branded as monsters reassemble their bodies, memories, and reveries, thereby illuminating the dense relations among cinematic space, body, sensation, and daydream.