영화 [고령화 가족]의 각색 연구

신종곤 원광대학교 인문학연구소 2019 열린정신 인문학연구 Vol.20 No.2

The purpose of this article is to analyze the adaption process of Chun Myeong-gwan’s novel and Song Hae-sung’s film [Boomerang Family]. The subject of adaption is a dualist performing a creative work through interpretations. The process of interpreting the original text involves 'under read' and 'overread'. Thus, the adaption accepts the meanings of the original text, but it is an act of appropriating the meanings of the text. In the process of adaptation of [Boomerang Family], meaning is created through 'omission' by 'under read', 'addition' added by 'overread', 'transformation' which distorts the meaning of original text, and a combination of them. The original text of the [Boomerang Family] is a novel, 『Golyeonghwa Gajog(an aging family)』, in the form of a first person narrative. The two texts commonly have a superficial narrative structure called <Gathering - Discovering the Meaning of the Family – Dispersion>. In the case of 『Goryeonghwa Gajog(an aging family)』, however, identification of ideological existence and unreliable narrative are used as a narrative strategy. This narrative strategy combines with the narrative structure of the surface layer to present a unique meanings. [Boomerang Family] also appropriates the meaning of the original text through its own narrative strategy. Identification and unreliable narrative are building an independent narrative combining 'omission', 'transformation' and 'addition'. The result of the interpretation centered on 'omission' leads the flow of narrative in a direction different from the original text through the change of the plot. The ways centered on 'transformation' cause movement of focus and build personalities of characters different from first person narrative and extend the relationship of characters. The 'addition' of a new event also contributes to the variation of the subject consciousness of the original text. But the issues of the thematic consciousness presented by the adapted text obviously require another 'dialogue'. Nevertheless, this way of adaptation can be meaningful in that it demonstrates that fidelity to the original text is no longer a virtue. 이 글은 천명관의 소설 『고령화 가족』과 송해성 감독의 영화 [고령화 가족]의 각색 과정을 분석하는 데에 목적을 둔다. 각색의 주체는 해석과 더불어 창작을 수행하는 존재이다. 원본텍스트를 해석하는 과정에는 ‘덜 읽기’와 ‘더 읽기’가 개입한다. 따라서 각색은 원본텍스트의 의미를 수용하면서도 텍스트의 의미를 전유하는 행위일 수밖에 없다. [고령화 가족]의 각색 과정에서는 ‘덜 읽기’에 의한 ‘생략’, ‘더 읽기’에 의해 덧붙인 ‘첨가’, 원본텍스트의 의미를 비트는 ‘변형’ 그리고 이들의 결합을 통해 의미를 생성하고 있다. [고령화 가족]의 원본텍스트는 일인칭 서술의 형태를 띠는 소설 『고령화 가족』이다. 두 텍스트는 공통적으로 <집결-가족의 의미 발견-분산>이라는 표층적 서사 구조를 나타낸다. 그런데 『고령화 가족』의 경우에는 이념적 대상에 대한 동일시와 신빙성 없는 서술을 서사전략으로 활용하고 있다. 이러한 서사전략은 표층의 서사 구조와 결합하여 독특한 의미를 제시하는 데에 기여한다. [고령화 가족] 역시 독자적인 서사 전략을 통해 원본텍스트의 의미를 전유하고 있다. 동일시와 신빙성 없는 서술은 ‘생략’과 ‘변형’ 그리고 ‘첨가’ 등이 서로 결합하면서 독립적인 서사로 변화된다. ‘생략’이 중심이 된 해석은 플롯의 변화를 통해 원본텍스트와 다른 서사의 양상으로 구체화된다. ‘변형’을 중심으로 결합된 방식은 초점의 이동을 유발하여 일인칭 서사와는 다른 양상으로 인물들의 관계를 입체화한다. 새로운 사건의 ‘첨가’는 원본텍스트의 주제 의식을 변주하는 데에 기여한다. 다만 각색된 텍스트가 보여주는 주제 의식의 한계는 분명 또 다른 ‘대화’를 요청한다. 그럼에도 불구하고 이러한 각색의 방식은 원본텍스트에 대한 충실도가 더 이상 미덕이 아니라는 사실을 증명한다는 점에서 의미를 찾을 수 있을 것이다.

염상섭 초기작에 나타난 자기반성적 서술 형식 연구 - 「표본실의 靑게고리」,「암야」,「제야」,『만세전』을 중심으로 -

신종곤 상허학회 2001 상허학보 Vol.7 No.-

The first person, ‘I', who appear in a novel, is actually a transformation of the third person ‘he' or 'she' in a viewpoint of epistemology. This means 'I' always exit against myself. That is, being myself means existing against myself. The being 'I' is not relationships with other beings, but relationships with myself. An individual is the being of relationships and movement. Consequently, the being 'I' is not a fixed object but a process of relationing with myself, an interval of myself, and a reflective consideration returning to myself. And the being 'I' means completion of inside spirit when it is considered that the process of reflective considering makes 'myself'. It is the 1920s that this recognition appears in Korean novel history remarkably. Because it was the time that construction for modern times was started in 『Heartlessness』and the recognition of modem age as dissociated world was established as Novel, a form of description. Particularly, it is note worthy that 'my' experience and 'my' style of description that was generally called the novel of the first person at that time, makes the main current as the fixed form of Novel. Because the modem society focused on private experience and acknowledge don't have no concern with the Novel - the reflection of current world. It can be interpreted that an individual as a subjective being for recognizing world has a lot to do with the Novel. In other words, the epistemological feature of modern novel has something in common with the question, 'Who am I' originally. It is Yum Sang-sup who shows a study of 'Who am I' - a study of modern subject - through the novel at that time. A series of Yum Sang-sup's early works shows us an experimental type about question how the modern subject 'I' is established. Especially, his essay 「Individuality and Art」 and his early trilogy 「The Tree-frog in Specimen-room」, 「Oark night」, 「New Year's Eve」and 「Before The 3·1 Movement』reflects the process of establishing modern subject 'I'. 「Individuality and art」conform to Yum Sang-sup's essay. In this writing, he saw the recognition of individuality can be achieved through the acknowledge of the relationships between 'I' as general existance and 'I' as seperated existance. Because he says that self realization is directly connected to acknowledgement general humanity and revelation of personal individuality through a metaphor of ‘the general life of the paper' and ‘the individual chracteristics of the wesrern paper and korean paper'. The recognition mentioned above is shown in the sequence of 「The Tree-frog in Specimen-room」, 「Dark night」, 「New Year's Eve」and 『Before The 3·I Movement』- the studies expressed by the forms of Novel. 「The Tree-frog in Specimenroom」refers a germinal stage for recognition of the true identity by the past trip bound for Nampo. But a narrator's judgement of 'I''s past mental state doesn't shows self-reflection. It only makes the problem of finding myself through the cognition of my identity. Possibility of reflective consideration about myself is examinated in 「Dark night」and 「New Year's Eve」through the formal transformation as letter-writing style of the voice of female narrator and the mental descriptions of the third person 'he'. But these also show a limitation that we cannot get to the reflective consideration of ourselves because of the excess subjectivity that cannot have relations with the objective world. Because reflective consideration can be done when we accept self-denial or self-absence. 'I', that is established through the reflective consideration is not the fixed object but a process of constant movement itself. From this movement as sublate to myself is the foundation of establishing mentality. This series of formal examination tried by Yum Sangsup is concluded in the 『Before The 3·1 Movement』. Because it shows a story of constant movement. That story is about 'I' who distrus...

1950년대 전후소설에 나타난 현실인식의 굴절 양상

신종곤 한국현대소설학회 2002 현대소설연구 Vol.- No.16

A study on the phenomenon of realizing the reality reflected in the post-war novels in 1950's― focusing on Seo ki-won and Kim Kwang-sik

1인칭 소설의 콘텐츠 변용 양상 고찰 -소설 <여제자>·영화「내 마음의 풍금」· 뮤지컬「내 마음의 풍금」을 중심으로

신종곤 한국문예창작학회 2009 한국문예창작 Vol.8 No.2

영상텍스트 수용을 위한 서사교육적 전제 고찰

신종곤 우리어문학회 2003 우리어문연구 Vol.21 No.-

Appearance of visual media and its popularization is now requiring new educational environment of narrative-education. This is due to influence by the visual literature is giving more influence to students, the main body in the classroom, than narrative literature. Experience of media such as television and video, which started to be widely used in 1960s, and personal computer and camcoder, which started to be popularized from 1990s are requiring to change curriculum of descriptive education, especially in terms of novel. These requirements are reflected in 7th Korean Language curriculum. The object of curriculum itself is emphasizing critique recognition of culture arised by the media. In other side, the curriculum of 7th education curriculum is emphasizing the education focused in pointing out the infelicity of words used in the media and correcting that words. This will lead close relation of narrative text to life as to limited environment. The difference between emphazing the critique recognition of education curriculum and actual curriculum in 7th education curriculum shows that word text is still in superior position. Especially, emphasizing only the badside of media can be interpreted as referring media as one of the tool in language education. That is, this will lead visual text out of range of narrative-education curriculum which is disregarding the object of narrative-education, ' Creation of Critique Recognition'. In order to overcome current narrative education curriculum, this thesis is to examine the meaning of visual text in descriptive education. In order to accept visual text in the range of narrative education, the education meaning of visual text shall be clarified in priority. That is, the narrative educational meaning of visual text shall have meaning in education. In case rationalization is the <psychological defense tool>, justification is interpreted as providing accordance of <meaning> or <internal value> of certain activity. In case 'rationalization' is related with literaterature and culure phenomena of visual text, 'justification' explains these phenomena in educational meaning. This thesis is reviewing the premise of curriculum in order to accept visual text to the range of narrative education. Especially, by considering the intrinsic meaning of narrative-education, this thesis is focused to clarify narrative-educational meaning of visual text. It is to create new discussion through intertextuality relationship by changing from novel text to visual text in narrative educational phenonena.

영화 [은교]의 각색 연구 -소설[은교]를 원천이야기로 삼은 영화 [은교]의 변형적 각색 방식을 중심으로-

신종곤 ( Jong Gon Shin ) 민족어문학회 2013 어문논집 Vol.- No.68

이 글의 목적은 소설 『은교』를 영화 [은교]로 각색하는 과정을 고찰하는 데에 있다. 특히 [은교]가 변형적 각색의 특징을 보여준다는 점에 주목하였다. 이에 따 라 [은교]의 각색 방식이 변형적 각색 방식의 특징을 갖는 근거를 밝히고 변형적 각색을 통해 변주되는 주제 의식을 고찰하고자 하였다. [은교]는 『은교』의 주요한 인물과 배경 그리고 사건들을 재현하면서도 원작과 다른 주제 의식을 보여준다. [은교]의 영상 주는 원작에 나타나는 주요한 사건들을 통사적으로 재배열하고 사건들을 생략·추가·변형함으로써 새로운 의미의 내러 티브를 창조한다. 이를 위해 우선 [은교]는 『은교』에 나타나는 일인칭 서술의 특징, 즉 편지와 일기체의 특성에 나타나는 고백들과 이를 종합하는 서사적 현재의 서술을 해체한다. 일인칭 서술을 통해 과거 사건들을 종합하는 방식이 아니라 인 물들을 초점대상으로 현재의 시점에서 사건들을 선형적으로 서술하는 방식을 택한다. 또한 원작을 관통하는 ‘늙음/젊음’이라는 갈등의 원인이 되는 모티프를 생략 하거나 희석한다. 그리고 ‘늙음/젊음’의 모티프를 “시적 감수성/‘공대생’의 인식” 이라는 새로운 모티프로 대체한다. 원작이 반복하고 강조하는 모티프를 통해 ‘늙음’과 ‘젊음’의 간극을 메울 수 없는 현실 인식을 노출한다면, [은교]는 소통을 통 해 동일성을 획득해가는 과정을 보여준다. 즉, 『은교』가 현상을 통해 문제를 제기 한다면, [은교]는 ‘시적’ 혹은 ‘감성적’ 소통이라는 삶의 방식을 ‘훼손된’ 현실을 극복할 수 있는 방안으로 제시한다는 것이다. 이 때 두 텍스트에 나타나는 호명의 방식은 주제 의식을 드러내는 데에 중요한 역할을 한다. 『은교』는 개인을 종속적인 주체로 간주하여 ‘강한 호명’을 통해 개 인을 주체의 욕망대로 전환하고자 하는 시도와 그 시도의 파탄을 보여준다. 반면 [은교]는 특정한 주체의 자질을 호명하여 존재론적 의미를 부여하는 ‘약한 호명’ 의 방식을 택한다. 그리고 이러한 시도를 통해 주체간의 동일성을 획득하는 과정을 보여준다. 궁극적으로 하나의 이야기를 원천으로 하여 새로운 이야기를 만들어 내고자 하는 시도는 담론 문화를 활성화한다는 데에 크게 기여한다. 원작을 다른 관점에 서 해석하고 이를 통해 다양한 담론을 생산할 수 있기 때문이다. 이런 점에서 [은 교]의 각색은 원작에 대한 해석과 세계를 바라보는 다른 관점의 가치를 제시한다 는 점에서 의의가 있을 것이다. The purpose of this article is to study on adaptation of the relationship film [Eungyo] adaption of novel 『Eungyo』. The relationship between two texts forms transformative adaptation relationship. Because there is the change of subject matter. The purpose of this paper is to study the subject that is changing and narrative strategies. [Eungyo] represents the characters and the background and the events of [Eungyo]. But [Eungyo] rearranges the important events and syntactic of novel. And Omits, adds and transforms events of novel. So [Eungyo] creates a new narrative. The theme of the novel is the conflict between old age and youth. On the other hand, the film`s theme is communication. The novel raises the issue based on the phenomenon. On the other hand, the film suggests a way to overcome the reality. How is the poetic sensibility and Emotional communication. However, the ``interpellation`` plays important role in the subject matters to form between two texts.『Eungyo』shows the way of strong ``interpellation``. Strong ``interpellation`` wants to switch the subject. These attempts were unsuccessful in novel. Because ``subject`` rejected such a ``interpellation``. By the way, film is successful by weak ``interpellation``. The weak ``interpellation`` called and brings out the qualities of the ``subject``. Ultimately, the way of adaption of film [Eungyo] contributes to activating discourse. It is the variation changing the story to another story.

소설 『최후의 증인』과 영화 [최후의 증인]에 나타나는 서사 구조 비교 고찰

신종곤(Shin Jong-gon) 원광대학교 인문학연구소 2012 열린정신 인문학연구 Vol.13 No.2

The purpose of this article is to consider the problem of losses that appear in the course of the novel『The Last Witness』turns into a movie [The Last Witness]. 『The Last Witness』is supported in the three different levels of narrative text. Those are "the investigation story of Oh-byeongho", "past history revealed in the course of the investigation" and "the narrative to act in order to correctly restore the value of the distorted". The axis of the three narratives reveal the meaning and alternating with each other. There is a need to consider the phenomenon in which the axis of the three kinds of narrative exchanges to overall view of what narrative means. Loss occurs when the meaning of the novel to create a movie. Be interpreted with the genre grammar, especially when there is a risk to be reduced meaning. To this end, this paper have examined to interpret 『The Last Witness』based on the detective narrative grammar through [The Last Witness]. [The Last Witness] Deploy in accordance with the grammar of the detective narrative. There are the tribulations of the figures revealed in the course of the investigation and trying to catch the real killer of Oh-byeongho. Results in the axis of the narrative it is greatly diluted to express the character"s behavior and frustration that properly to reconstruct the damaged value. This is limited by the terms of the genre of detective narrative grammar to interpret the text in the results occurred.

황석영의 「北邙, 멀고도 고적한 곳」연구 - '말없음 언표'의 서사적 기능을 중심으로 -

신종곤(Shin Jong-Gon) 돈암어문학회 2000 돈암어문학 Vol.- No.13

시선의 역전으로 드러낸 소외와 분리의 서사 - 〈밀양〉의 각색에 나타나는 주체와 타자의 관계 고찰 -

신종곤(Shin, Jonggon) 중앙어문학회 2021 語文論集 Vol.86 No.-

일반 논문 : 영화에 나타난 가족 서사 연구 -2000년대 이후 한국영화에 나타난 "아버지의 법"과 "죽은 자식"의 계열화 양상을 중심으로

신종곤 ( Jong Gon Shin ) 현대문학이론학회 2009 現代文學理論硏究 Vol.0 No.36