이창동 영화의 문화적 의미- 『오아시스』와 롤랑 바르트의 신화론, 『밀양』과 자크 데리다의 『죽음의 선물』

이만식 한국비교문학회 2008 比較文學 Vol.0 No.44

The cultural significance of Lee Chang Dong's films, such as Oasis and Secret Sunshine, is officially recognized in world-class film festivals. The favorable appreciation of Lee Chang Dong's films by western culture is studied here in this paper especially in terms of the postmodern culture of Roland Barthes and Jacques Derrida in order to suggest one of the potential directions for other Korean film directors as well as for Lee Chang Dong himself. Oasis can be meaningfully interpreted in relation with Roland Barthes' Mythologies, especially with the story of Gaston Dominici in “Dominici, ou le triomphe de la Littérature.” Dominici was 77-year-old farmer wrongly charged for the murder of Sir Jack Drumond's three family members mainly due to the lack of capacity to deal with the legal system, which is based upon the universal psychology developed within the cultural signification system of bourgeois society. Jong Du is a Dominici in Oasis presented by Lee Chang Dong. He is charged for the rape of Gong Ju in spite of their mutual consent mainly due to the lack of capacity to answer back the critical questions posed by the legal system. Gong Ju is in a little different position even though she is regarded and treated usually as another Dominici because she is paralyzed. Gong Ju reveals that she understands the cultural signification system of bourgeois society, when she says during the first serious conversation with Jong Do that she envies the working man. Lee Chang Dong suggests a way to counter-attack the cultural signification system of bourgeois society in this film entitled as Oasis, a representative 이만식 / 이창동 영화의 문화적 의미 111 image of the utopian dream of bourgeois society. He implies in the love story of Jong Du, idiot, and Gong Ju, cripple, that Oasis can be realized here in this bourgeois society even by the Dominicies. Secret Sunshine is a sensational film especially for Korean Christian society because of its inherent doubt about the validity of modern Christian faith. This film can be significantly related with Jacques Derrida's The Gift of Death which has the secret intention to implode the fundamental basis of Christianity raising serious doubt about the modern Christian creed of absolute submission to God's will regardless of concerned human condition. Jong Chan became Christian with the latent desire to develop a relationship with Shin Ae. He represents a typical Christian in modern Korea. Shin Ae became Christian soon after her son was kidnapped and brutally murdered. She cannot be satisfied with usual Christian life style because she is really desperate to find out the excuses for her lonely existence resulted from the deprivation of her son, her only hope of life. Later she tries to forgive the convict, who declares surprisingly that he is already forgiven and saved by God. The killer of her son convinces that he is saved by God without prior consent of the victim, whereas Shin Ae is still asking for the peace of mind in Christianity. She is forced now to search for the real significance of Christian faith, i.e., the postmodern Christian faith not to exclude human concern even in the process of absolute submission to God's will. There is no possibility in the human side to find out the final resolution of this religious problem. The director of this film suggests in the final scene of location in Mil Yang, whose meaning of its Chinese letters is Secret Sunshine, under the secret sunshine that it is only probable now to end only with the process of compromise between Jong Chan's modern Christian faith and Shin Ae's postmodern Christian faith. I think this is the Christian interpretation, suggested in Secret Sunshine by Lee Chang Dong and acknowledged by Cannes Film Festival, of Derrida's political positions, democracy which is the place of negotiation or compromise between the present forms of democracy and ‘democracy to ... The cultural significance of Lee Chang Dong's films, such as Oasis and Secret Sunshine, is officially recognized in world-class film festivals. The favorable appreciation of Lee Chang Dong's films by western culture is studied here in this paper especially in terms of the postmodern culture of Roland Barthes and Jacques Derrida in order to suggest one of the potential directions for other Korean film directors as well as for Lee Chang Dong himself. Oasis can be meaningfully interpreted in relation with Roland Barthes' Mythologies, especially with the story of Gaston Dominici in “Dominici, ou le triomphe de la Littérature.” Dominici was 77-year-old farmer wrongly charged for the murder of Sir Jack Drumond's three family members mainly due to the lack of capacity to deal with the legal system, which is based upon the universal psychology developed within the cultural signification system of bourgeois society. Jong Du is a Dominici in Oasis presented by Lee Chang Dong. He is charged for the rape of Gong Ju in spite of their mutual consent mainly due to the lack of capacity to answer back the critical questions posed by the legal system. Gong Ju is in a little different position even though she is regarded and treated usually as another Dominici because she is paralyzed. Gong Ju reveals that she understands the cultural signification system of bourgeois society, when she says during the first serious conversation with Jong Do that she envies the working man. Lee Chang Dong suggests a way to counter-attack the cultural signification system of bourgeois society in this film entitled as Oasis, a representative 이만식 / 이창동 영화의 문화적 의미 111 image of the utopian dream of bourgeois society. He implies in the love story of Jong Du, idiot, and Gong Ju, cripple, that Oasis can be realized here in this bourgeois society even by the Dominicies. Secret Sunshine is a sensational film especially for Korean Christian society because of its inherent doubt about the validity of modern Christian faith. This film can be significantly related with Jacques Derrida's The Gift of Death which has the secret intention to implode the fundamental basis of Christianity raising serious doubt about the modern Christian creed of absolute submission to God's will regardless of concerned human condition. Jong Chan became Christian with the latent desire to develop a relationship with Shin Ae. He represents a typical Christian in modern Korea. Shin Ae became Christian soon after her son was kidnapped and brutally murdered. She cannot be satisfied with usual Christian life style because she is really desperate to find out the excuses for her lonely existence resulted from the deprivation of her son, her only hope of life. Later she tries to forgive the convict, who declares surprisingly that he is already forgiven and saved by God. The killer of her son convinces that he is saved by God without prior consent of the victim, whereas Shin Ae is still asking for the peace of mind in Christianity. She is forced now to search for the real significance of Christian faith, i.e., the postmodern Christian faith not to exclude human concern even in the process of absolute submission to God's will. There is no possibility in the human side to find out the final resolution of this religious problem. The director of this film suggests in the final scene of location in Mil Yang, whose meaning of its Chinese letters is Secret Sunshine, under the secret sunshine that it is only probable now to end only with the process of compromise between Jong Chan's modern Christian faith and Shin Ae's postmodern Christian faith. I think this is the Christian interpretation, suggested in Secret Sunshine by Lee Chang Dong and acknowledged by Cannes Film Festival, of Derrida's political positions, democracy which is the place of negotiation or compromise between the present forms of democracy and ‘democracy to come.’

「벌레 이야기」와 <밀양>의 비교 연구: 5・18의 가해자/피해자 알레고리를 중심으로

전두영 전남대학교 호남학연구원 2022 감성연구 Vol.- No.25

Lee Chong-jun’s “The Story of a Worm” in 1985 does not include the contents of “The May 18.” The readers and the critics at the time, however, read the novel as a certain understanding of the May 18. The novel later received the public attention as it became known as the origin of Lee Chang-dong’s movie The Secret Sunshine (2007). However, much of the comparative study of the two works has been done without the relevance of the May 18. Studies discuss forgiveness and salvation, loss and mourning as the subject that two works have in common, but they pay no attention to the May 18. In particular, researches in the case of The Secret Sunshine have been limited to the analyses of the content of the movie, which means that the director’s consciousness as a writer is not dealt properly. This study argues that Lee Chang-dong has a guilty consciousness towards the May 18 as one of the representative novelists in the 80s, and this consciousness was finally turned into a work as the movie The Secret Sunshine. This paper argues that Lee Chang-dong writes an allegorical text about the perpetrator/victim of the May 18 with The Secret Sunshine. As for how Lee Chang-dong expresses his consciousness towards the May 18, I use two methodologies. First, I follow details outside the text. Tracking down Lee Chang-dong’s career as a novelist and film director, I show that Lee Chang-dong tried to give a hint to the audience that his movie was about the May 18, especially with the title of the movie and the release date. Second, I try to reconstruct the stories by analyzing the main events of “The Story of a Worm” and The Secret Sunshine in order to show that they express a similar consciousness. In particular, I analyze these two texts through the narrative style of allegory. My analysis of the two texts are based on two allegory theories. One is Walter Benjamin’s theory. According to the theory, the last step that the reader understands the author’s intention completes the allegory. On the other hand, Paul de Man stresses that although it is the author who creates the allegory, how the meaning is conveyed to the reader is outside of the author’s hands. Regardless of which allegory theory we buy, I suggest that the analysis of the allegories of “The Story of a Worm” and The Secret Sunshine shows that both texts express the author’s consciousness that there can be no real reconciliation between the perpetrators and the victims without the victim’s side of forgiveness. According to this interpretation, The Secret Sunshine shows a deeper perspective on the community. Just as the May 18 community resisted the false state’s authority, the community formed by the two main characters of the movie represents a community resisting God who forces the false kind of forgiveness. My analysis of these allegories shares a certain point with Stanley Fish’s ‘interpretive communities.’ According to Fish, the communities have a consistent perspective, forming the worldview shared by the members of the community. The community in a sense keeps writing a text together. Lee Chang-dong shows the characteristics of an interpretive community which maintains a certain position on the May 18, interpreting “The Story of a Worm” in a certain way and writing his own text with the creation of The Secret Sunshine. The interpretive communities theory further provides us with an opportunity to accept the May 18 as an open text and an opportunity to create a new text for the May 18. Considering that there could be many different interpretive communities, what I am arguing in this paper may be a position of a different interpretive community from the one who shows the viewpoint of The Secret Sunshine and its extended text such as “The Story of a Worm.” However, I believe that this paper’s discussion can be an interpretation of the same interpretive community, revealing the hidden viewpoint of the text that Lee Ch... 1985년에 발표된 이청준의 단편소설 「벌레 이야기」는 ‘오월 광주’에 관한 내용을 담고 있지 않다. 그러나 당시의 독자들과 평자들은 그 소설을 오월 광주에 대한 알레고리로 읽었다. 이후 이창동의 영화 <밀양>(2007)의 원작으로 알려지면서 이 소설은 대중의 주목을 받기 시작한다. 그렇지만 두 작품의 비교 연구는 오월 광주에 대한 재현이 탈색된 채 이루어져 왔다. 용서와 구원, 상실과 애도가 두 작품의 주제 의식임을 지적한 연구는 있지만 그 주제 의식의 바탕으로 5·18을 이야기하지 않는다. 특히 이창동의 <밀양>의 경우 영화의 내용에 관한 분석에 연구가 국한됨으로써 감독의 작가 의식에 접근할 수 없었다. 본 연구는 이창동이 80년대를 대표하는 소설가로서 오월 광주에 대해 죄의식을 가졌으며 이러한 죄의식이 영화 <밀양>에서 비로소 표현되었다고 주장한다. 본고는 이창동이 <밀양>을 통해 5·18 가해자/피해자에 대한 알레고리적 텍스트를 쓰고 있다고 주장한다. 이창동이 5·18이라는 주제 의식을 어떤 식으로 표현하는지에 대해 필자는 두 가지 방법론을 사용한다. 첫째, 필자는 창작자의 주제 의식 표현을 짐작할 수 있는 텍스트 외적 사항들에 주목한다. 구체적으로는 이창동이 지닌 소설가로서의 이력과 영화감독 필모그래피를 추적한다. 이를 통해 필자는 이창동이 영화 제목과 개봉일 선정 등을 통해 5·18에 대한 문제의식을 관객에게 전달코자 했다고 주장한다. 둘째, 필자는 「벌레 이야기」와 <밀양>의 핵심적 사건을 분석함으로써 어떤 점에서 두 텍스트가 유사한 주제 의식을 표현하는지를 재구성하고자 한다. 특히 필자는 이 두 텍스트를 알레고리라는 서사 양식을 통해 분석한다. 필자는 두 가지 알레고리론에 주목해 두 텍스트를 분석한다. 한 가지는 발터 벤야민이 주장한 알레고리론으로서, 그것에 따르면 작가의 의도가 독자에게 전달되어 독자가 작가의 의중을 파악함으로써 알레고리의 완성이 이루어진다. 이에 반해 폴 드 만은 알레고리를 창조하는 것은 작가의 몫이지만 그것이 독자에게 이르렀을 때는 그 의미가 전혀 다른 것이 될 수도 있음에 주목한다. 즉, 독자가 텍스트의 의미를 어떤 식으로 이해하는지는 창작자의 권한 밖의 일이다. 이 두 알레고리론의 어느 입장을 받아들이든 「벌레 이야기」와 <밀양>의 알레고리 분석에 따르면, 두 텍스트 모두 피해자의 용서가 없이는 진정한 화해가 있을 수 없다는 주제 의식을 그 이면에 깔고 있음이 드러난다. 이러한 필자의 해석에 따르면, <밀양>은 두 주인공이 새로운 공동체를 이룸으로써 공동체에 대한 진일보한 시각을 보여준다. 5·18공동체가 거짓 국가에 저항했듯이 영화의 두 주인공이 형성한 공동체는 거짓 용서를 강요하는 신에 저항하는 공동체이다. 필자의 이러한 알레고리 분석은 스탠리 피쉬의 ‘해석의 공동체’와 연결되는 지점이 있다. 피쉬에 따르면 이 공동체는 일관성의 관점을 갖고 그들만의 공통된 세계관을 형성해가며 텍스트를 쓰는 특징을 갖는데, 이창동은 「벌레 이야기」 해석과 <밀양>의 창작에 이르기까지 5·18에 관한 일정한 입장을 견지하는 해석의 공동체의 특성을 보여준다. 해석의 공동체 개념은 더 나아가 우리에게 5·18을 열린 텍스트로서 받아들일 기회와 5·18에 대한 새로운 텍스트 창작의 기회를 제공한다. 따라서 <밀양>이 「벌레 이야기」를 관통하고 있는 주제 의식, 곧5·18에 ...

The Intertextual Narrative Discourse of Otherness in Lee Chang-dong’s Burning (2018) as Adaptation

표민수 문학과영상학회 2021 문학과영상 Vol.22 No.3

Lee Chang-dong’s Burning (2018), based on Murakami Haruki’s short novel Barn Burning (1983) and William Faulkner’s short novel of the same title (1939), is an exceptional case of film adaptation that overcomes the limitation of fidelity to literature. While Faulkner’s novel depicts class conflict after the civil war from the viewpoint of an audacious child who eventually breaks away from an incendiary father, Murakami only uses the motif of arsonist and reworks the narrative into a surrealistic drama. If Lee Chang-dong had faithfully adopted the narrative of the two novels, the question of adaptation would have been reduced to the classic problem of fidelity that treats film as aesthetically inferior to the original novel. On the other hand, if Lee had departed from the original text and freely changed the narrative, his film would have lost ground as a work of adaptation. Lee, however, did not follow the narrative of either text with fidelity, nor did he depart from the narrative and spirit of the two novels. I argue that Lee’s film Burning was loyal to none other than the relationship between the two short stories to uncover the social problem of 21st century South Korea. This article will demonstrate how Lee treats the two texts as a counterpart to each other. In this research, I focus on how Lee develops narrative methods, which were originally based on literature studies, into a cinematic language in the adaptation process of Burning. First, I compare the three authors’ narrative strategies based on Gérald Genette’s narrative discourse theory while focusing on the narrator-character’s role within the text. I explain how Faulkner’s and Murakami’s narrative approaches are different and then highlight how Lee synthesizes the two texts through the internal focalization of cinema. Then, by applying Martin Buber’s theory on otherness, I will demonstrate how the problem of class in Faulkner’s work develops into the problem of alienation in Japan and social polarization in South Korea, and elaborate how Lee constructs his mise-en-scène to effectively communicate the social political aspect with an aesthetic touch.

이창동 분단소설에 나타난 ‘아버지’의 의미

이내관(Lee, Nae?kwan) 한국비평문학회 2015 批評文學 Vol.- No.56

본 논문은 이창동의 분단소설 「소지」, 「끈」, 「친기」, 「용천뱅이」, 「운명에 관하여」 등을 중심으로 ‘아버지’의 의미를 탐색한 것이다. 본고에서는 리먼 케넌의 성격 지표를 표상하는 두 가지 기본 유형인 간접 제시와 직접 한정이론을 토대로 이창동 분단소설에 나타난 ‘아버지’의 의미를 고찰함과 동시에, 나아가 ‘아버지’가 분단 2세대에게 어떤 의미를 갖는지 밝혀냈다. 그 결과 이창동의 소설에서 ‘아버지’는 하나같이 부정적인 의미를 띠고 있다는 점과 대부분 좌익 활동의 경력을 확인할 수 있었다. 이러한 이유 때문에 이창동의 분단소설에 나타난 ‘아버지’는 2세대들의 인생에 도움을 주지 못하는 존재로 다음과 같이 형상화되어 있었다. 첫째,「소지」와「끈」에 나타난 ‘아버지’는 작중인물이자 서술자인 ‘나’에게 인생의 걸림돌이자 방해자의 의미로 등장한다. 둘째, 「친기」에서의 ‘아버지’는 과거부터 현재까지 자식들에게 무능력한 모습을 보이는 인물로 형상화되어 있으며, 끝으로 「용천뱅이」와 「운명에 관하여」에 나타난 ‘아버지’는 버림받은 존재의 의미를 지닌 인물로 표현되어 있었다. 이처럼 이창동의 분단소설에는 분단 1세대인 아버지 세대와 2세대들이 등장하는 것이 특징적이다. 본 논문을 통해 이창동 분단소설에서 아버지 세대와 자식 세대는 서로 다른 이데올로기의 인식 차이가 있음을 증명해 낼 수 있었다. 이는 좌익이었던 ‘아버지’로 인해 분단 2세대들이 사회로부터 불합리한 대우를 받게 되면서 더욱 심하게 표출됨을 확인할 수 있게 했다. This study is a review about the meaning of ‘Father’ in Lee Chang-dong’s division novel. This paper was used as the theoretical limit of two basic types of direct and indirect indicators suggest that represent the personality of S. Rimmon-Kenan. In addition, this paper has considered the meaning of ‘Father’. And the father said what it means to the second generation division. As a result, Lee Chang-dong’s division novel was confirmed that a career as one of the ‘father’ is tinged with negative connotations that most left-wing activities. So, the ‘father’ in the Lee Chang-dong’s division novel is shaped by the presence does not help the lives of two generations. First, the ‘father’ will emerge as an obstacle interferer and the meaning of life to his son in ?Soji?, ?String?. Second, the ‘father’ is shaped as an incompetent person looks from the past to now look to the children in ?Chin?gi?. Finally, the ‘father’ is portrayed as a person with a sense of the presence of abandoned in 「Yongcheonbaeng-i」, 「About Destiny」. Lee Chang-dong"s novel is characterized by the division to the division of the first generation and second generation have emerged father. And most of the appearance of the ‘Father’ was able to prove that it is shaped as a negative in these novels.

이창동 소설 「춤」에 나타난 1980년대 한국 사회의 소비 의식 연구

양진호 한양대학교(ERICA캠퍼스) 한국미래문화연구소 2021 미래문화 Vol.0 No.2

본고는 이창동 소설집 『소지(燒紙)』에 수록된 단편인「춤」을 ‘소비’라는 키워드로 살펴봄으로써 그의 소설적 발화 방식인 ‘이야기’의 의미를 규정하려고 한다. 역사에 대한 당대 문학의 보편적 관점에서 ‘이야기(나카자와 신이치의 신화에 대한 개념과 관련지어)’로 이행하는 그의 소설들은 역사를 관통하는 소외된 자들, 시간으로부터 추방된 자들의 시선으로 사회를바라본다. 한국 사회의 역사와 그 바깥이라는 영역 사이에 놓인 개인들의삶을 발견하고 재현하는 그의 소설에서, ‘이야기’라는 관점은 역사라는 체계안에서 역사 바깥을 사유하는 방식으로 작동한다. 즉 역사 안에 포함될 수없는 것들이 역사 안에 섞여 있고, 그것을 역사 속 개인들이 각자의 방식으로 인식하려는 과정 자체를 이창동이 ‘이야기’라는 형식을 통해 담아내려했다는 것이다. 본 논문에서는 이창동의 이러한 ‘이야기’적 서술 방식이 담긴 소설들 중 「춤」을 80년대 한국 사회의 욕망 구조를 설명하는 데 있어서 핵심이 되는 ‘소비’의 키워드로 분석하고, 그가 이 기표를 통해 한국 사회의 모순을 발견하는 방식, 그리고 ‘화해의 가능성을 찾아가는 방식에 대해 중점적으로 다루고자 한다. 또한 본 논문에서는 이 과정을 한국 사회의 ’경계‘에 대해 이창동이 사유해나간 과정으로서 바라보려고 한다. This paper tries to define the meaning of 'story', his novel utterance method, by examining the short story 'Dance' contained in Lee Chang-dong's novel collection 『Soji』 as the keyword ‘consumption’. His novels, which move from the universal perspective of contemporary literature on history to 'story' (in relation to Shinichi Nakazawa's concept of myth), look at society through the eyes of the marginalized and those expelled from time through history. In his novels that discover and reproduce the lives of individuals who are placed between the history of Korean society and the realms outside it, the perspective of ‘story’ works in a way of thinking outside of history within the system of history. In other words, the things that cannot be included in history are mixed in history, and the process of individuals in history trying to recognize it in their own way is what Chang-Dong Lee tried to capture through the form of ‘story’. In this thesis, among the novels that contain Lee Chang-dong's 'story' narrative style, 'dance' is analyzed as a keyword of 'consumption', which is the key word in explaining the structure of desire in Korean society in the 80s, and he I would like to focus on the method of discovering the contradictions in Korean society and the method of 'finding the possibility of reconciliation'. In addition, this paper attempts to view this process as a process by which Chang-dong Lee thought about the 'boundary' of Korean society.

이창동 분단소설에 나타난 ‘아버지’의 의미

이내관 한국비평문학회 2015 批評文學 Vol.- No.56

This study is a review about the meaning of ‘Father’ in Lee Chang–dong’s division novel. This paper was used as the theoretical limit of two basic types of direct and indirect indicators suggest that represent the personality of S. Rimmon–Kenan. In addition, this paper has considered the meaning of ‘Father’. And the father said what it means to the second generation division. As a result, Lee Chang–dong’s division novel was confirmed that a career as one of the ‘father’ is tinged with negative connotations that most left–wing activities. So, the ‘father’ in the Lee Chang–dong’s division novel is shaped by the presence does not help the lives of two generations. First, the ‘father’ will emerge as an obstacle interferer and the meaning of life to his son in 「Soji」, 「String」. Second, the ‘father’ is shaped as an incompetent person looks from the past to now look to the children in 「Chin–gi」. Finally, the ‘father’ is portrayed as a person with a sense of the presence of abandoned in 「Yongcheonbaeng–i」, 「About Destiny」. Lee Chang–dong's novel is characterized by the division to the division of the first generation and second generation have emerged father. And most of the appearance of the ‘Father’ was able to prove that it is shaped as a negative in these novels. 본 논문은 이창동의 분단소설 「소지」, 「끈」, 「친기」, 「용천뱅이」, 「운명에 관하여」 등을 중심으로 ‘아버지’의 의미를 탐색한 것이다. 본고에서는 리먼 케넌의 성격 지표를 표상하는 두 가지 기본 유형인 간접 제시와 직접 한정 이론을 토대로 이창동 분단소설에 나타난 ‘아버지’의 의미를 고찰함과 동시에, 나아가 ‘아버지’가 분단 2세대에게 어떤 의미를 갖는지 밝혀냈다. 그 결과 이창동의 소설에서 ‘아버지’는 하나같이 부정적인 의미를 띠고 있다는 점과 대부분 좌익 활동의 경력을 확인할 수 있었다. 이러한 이유 때문에 이창동의 분단소설에 나타난 ‘아버지’는 2세대들의 인생에 도움을 주지 못하는 존재로 다음과 같이 형상화되어 있었다. 첫째, 「소지」와 「끈」에 나타난 ‘아버지’는 작중인물이자 서술자인 ‘나’에게 인생의 걸림돌이자 방해자의 의미로 등장한다. 둘째, 「친기」에서의 ‘아버지’는 과거부터 현재까지 자식들에게 무능력한 모습을 보이는 인물로 형상화되어 있으며, 끝으로 「용천뱅이」와 「운명에 관하여」에 나타난 ‘아버지’는 버림받은 존재의 의미를 지닌 인물로 표현되어 있었다. 이처럼 이창동의 분단소설에는 분단 1세대인 아버지 세대와 2세대들이 등장하는 것이 특징적이다. 본 논문을 통해 이창동 분단소설에서 아버지 세대와 자식 세대는 서로 다른 이데올로기의 인식 차이가 있음을 증명해 낼 수 있었다. 이는 좌익이었던 ‘아버지’로 인해 분단 2세대들이 사회로부터 불합리한 대우를 받게 되면서 더욱 심하게 표출됨을 확인할 수 있게 했다.

번역(Translation)과 변형(Transformation) 그 사이에서 - 포크너, 하루키, 그리고 영화 「버닝」의 매체 번역을 사유하다

심선향 세계문학비교학회 2019 世界文學比較硏究 Vol.68 No.-

This study looked at the media translation process through the comparison and contrast between the two works, originally referred to as <Burning>. The film is different from the original adaptation, which features a dialectical combination of an adaptor’s a view of art on a minimal frame transferred from the original. So, I wanted to look at the different parts of the movie between the adapted screen and the original novel, and find out what voice I wanted to show in the movie. Through the process of comparing the two original works Haruki and Faulkner’s novel of the same name with the film, and examining the previous works of Haruki and Lee Chang-dong, Haruki and Lee Chang-dong were able to extract a common art view that flows simultaneously around the world. In conclusion, it can be said that the work follows the concept of ‘Concurrent presence’. The concept is his dominant cosmovision that runs throughout Haruki’s works, and at the same time, it was able to read the ideas that were quite common in Lee’s previous works “BakaSatang”(1999) and “Oasis” (2002). ‘Concurrent Existence’ refers to the blurring of the boundaries between real and real vs. real. This shows the mesh of the image-criminalization of reality/non-reality as described by front-page Gilles Deleuze. “Christal-Image” is a concept presented through the process of interpreting Henri Bergson’s philosophy through the process of interpreting Proust’s film, a logic that breaks our view of explaining the change of time as a ‘human’ relationship. His view of breaking the legitimacy of the “past present” and proposing to approach the formula of “past present” or “past = present” is largely thought to be out of touch with what Haruki calls the cosmovision of “simultaneous present.” Lee Chang-dong, Haruki and William Faulkner. Also, the concept of ‘Concurrent presence’ and Lee Chang-dong’s notion of time in the film world. The concept of “Concurrent presence,” an idea in Haruki’s novel, and “Christal-Image,” a concept established through the study of Deleuze’s film. 본 연구는 영화 <버닝>과 그 원작으로 일컬어지는 두 작품의 비교⋅대조를 통해 매체번역 과정을 살펴보고자 하였다. 이 영화는 원작에서 이양한 최소한의 틀 위에 각색자의 예술론을 변증법적으로 결합시켜 전혀 새로운 하나의 양식으로 체화했다는 특징을 갖는 기존의 각색작품과는 차별성을 갖는 작품이다. 하여, 각색된 영화와 원작소설 간에 드러나는 서로 다른 부분을 살펴보고, 나아가 드러나지 않는, 그러나 영화에서 드러내고자 했던 목소리는 무엇인지 찾아가 보고자 하였다. 두 원작 하루키와 포크너의 동명의 소설 <Barn Burning>을 영화와 비교 연구하고, 하루키의 전작들과 이창동의 전작들을 살펴보는 과정을 통해, 하루키와 이창동의 작품 세계에동시적으로 흐르는 공통의 예술관을 추출하게 되었다. 결론적으로, 이 작품은 ‘동시존재’의 관념을 따르고 있다고 이야기할 수 있겠다. 이 개념은 하루키의 작품 전편에 흐르는 그의지배적인 세계관이자 동시에, 이는 이창동의 전작들(‘박하사탕(1999)’, ‘오아시스(2002)’)에서도 사뭇 공통되는 사고관을 읽을 수 있었다. ‘동시존재’는 현실vs비현실, 실재vs부재의 경계가 모호해짐을 말한다. 이것은 일면 질 들뢰즈가 이야기한 현실/비현실의 크리스탈-이미지(image-cristal)와의 맞물림이 보인다. ‘크리스탈-이미지’는 베르그송의 철학을 프루스트의 영화를 해석하는 과정을 통하여 제시된 개념인데, 시간의 변화를 ‘인과’ 관계로 설명하는 우리의 시각을 깨뜨리는 논리이다. ‘과거⇒현재’의 당위성을 깨뜨리고 ‘과거⇏현재’ 혹은 ‘과거=현재’의 공식에 접근해보기를 제안하는 그의 시각은 상당 부분 하루키가 말하는 ‘동시존재’의 세계관과 닿아있지 않나 생각된다.

이창동 작가론

이현승(Hyun-Seung Lee),송정아(Jeang-Ah Song) 한국콘텐츠학회 2012 한국콘텐츠학회논문지 Vol.12 No.2

영화작가로서 이창동은 장르적 자장 안에서 영화를 만들고 있는 한국영화계의 대다수 감독들과 구별된다. 그동안 그의 영화는 관객과의 소통을 위해 느와르, 멜로 등의 장르를 차용해왔지만 최근작 〈시〉에 이르러서는 장르적 외피를 벗어던진 것처럼 보인다. 〈초록물고기〉부터 〈시〉에 이르기까지 일관되게 남은 것은 관객의 참여를 요하는 깊은 심도와 시간의 연속을 암시하는 길게 찍은 숏들의 몽타주, 현실성을 강조한 연기 등 리얼리즘적 표현방식이다. 또한 이창동의 영화들은 환영적 동일시를 깨는 방식으로 관객들에게 성찰의 자리를 돌려준다는 측면에서 장르영화의 카운터 시네마로 파악할 수 있다. 이창동의 영화에서 볼 수 있는 ‘낯설게 하기’는 핸드헬드, 판타지, 미장아빔, 응시 되돌려 보내기 등의 영화적 장치로 구현된다. 이 장치들은 텍스트의 재현양식을 폭로함으로써 관객들이 역사적, 정치적 컨텍스트를 성찰하게 한다. 본 연구에서는 〈시〉,〈오아시스〉,〈밀양〉 등의 분석을 통해 이창동의 영화 만들기 행위는 결국 보이지 않는 ‘실재’를 상징화함으로써 ‘윤리를 창조하는 반복충동’이라고 주장할 것이다. As a film maker, Lee Chang Dong stands out from most Korean film makers who work within the trappings of genre films. To be sure, Lee has also used the trappings of genre films, such as noire and melodrama, but primarily as a tool to communicate with film audience. In his most recent film “Poetry”, Lee seems to have even stripped even the minimal trappings of genre film. Lee commands the audience to self-reflect and work towards their own conclusions by denying them the illusory identification on screen. In this way, Lee’s works are counter cinema. Lee achieves a distancing effect using such filmic apparatuses as hand-held camera, fantasy, mise en abyme, and returned gaze. Through these filmic apparatuses, Lee exposes the re-presentation of text and compels his audience to see the historical and political contexts of the text. In this study, I make the case that Lee Chang Dong’s film making is an act of repetition compulsion that cultivates ethical reflection, through symbolization of the invisible realities.

이창동 영화에 나타난 주술과 주문: <초록물고기>, <박하사탕>, <오아시스>를 중심으로

표민수 문학과영상학회 2023 문학과영상 Vol.24 No.3

. In an age of de-enchantment, making a realist film using magical elements appears somewhat contradictory. However, Lee Chang-dong’s early trilogy—Green Fish, Peppermint Candy, Oasis—presents modern Korean society in a realistic manner while dealing with magic and incantation as important narrative elements. This paper analyzes the elements of magic and incantation in Lee Chang-dong’s early trilogy and traces how magical thinking and realism cinematically coexist within. Bringing together James George Frazer’s theory of magic and Sergei Eisenstein’s theory on primitivism, this paper establishes the theoretical foundation for further expanding the discourse of magic in cinema through a new reading of Lee Chang-dong’s films.

<밀양>의 영상언어, 내러티브, 주제의식의 상호작용

김경애 문학과영상학회 2008 문학과영상 Vol.9 No.3

Secret Sunshine is Chang-Dong Lee’s fourth film, and its leading actress, Jeon Do-yeon, won the Best Actress Prize at the 2007 Cannes Film Festival for her amazing performance. The film is based on the short story, The Story of the Worms (1985) by Chung-Jun Lee. The film, however, adapts only the motif of kidnaping from the short story. Its narrative and thematic structure are very different from those of the novel. The story centers around a woman named Shin-Ae who suffers severely from the sudden death of her husband and child. The Korean title, Milyang, meaning “secret sunshine,” is named after the city that serves as the film's setting and filming location. From the perspective of film aesthetics, Lee’s previous films, despite of his consistent thematic consciousness and perfect narrative, have been criticized for the way of film representation. Lee’s films have strength in narration, characters and scenario. By contrast, his films have shown dull visual expression and techniques. However, The Secret Sunshine reveals many effective strategies of film language such as camera, framing, shots, light and sound. This paper focuses on the analysis of screen grammar such as the use of film techniques and the strategies of representation of Secret Sunshine. The film shifts into a devastating study in human suffering, mainly using an objective camera viewpoint and the handheld camera. Objective camera viewpoint and angles are employed to control the psychological distance between the film and the audience. Camera works through medium and long shots build up the inner structure of its theme and characterization. The film also reveals a subtle use of images. Light and shadow and the strife pattern of dresses turn out to possess the richness of thematic depth and deep layers of meanings. Sound is directly collected from the streets of Milyang. No noise reduction work is attempted so that the voices and sound of real people can be captured as such. Music is used only four times, in a very restrictive way. This is for the sake of realism. Thus, these film-making techniques, visualization and camera works, lighting and image, sound and music, tactfully dissolve the barrier between the technical code of film language and theme. Secret Sunshine is Chang-Dong Lee’s fourth film, and its leading actress, Jeon Do-yeon, won the Best Actress Prize at the 2007 Cannes Film Festival for her amazing performance. The film is based on the short story, The Story of the Worms (1985) by Chung-Jun Lee. The film, however, adapts only the motif of kidnaping from the short story. Its narrative and thematic structure are very different from those of the novel. The story centers around a woman named Shin-Ae who suffers severely from the sudden death of her husband and child. The Korean title, Milyang, meaning “secret sunshine,” is named after the city that serves as the film's setting and filming location. From the perspective of film aesthetics, Lee’s previous films, despite of his consistent thematic consciousness and perfect narrative, have been criticized for the way of film representation. Lee’s films have strength in narration, characters and scenario. By contrast, his films have shown dull visual expression and techniques. However, The Secret Sunshine reveals many effective strategies of film language such as camera, framing, shots, light and sound. This paper focuses on the analysis of screen grammar such as the use of film techniques and the strategies of representation of Secret Sunshine. The film shifts into a devastating study in human suffering, mainly using an objective camera viewpoint and the handheld camera. Objective camera viewpoint and angles are employed to control the psychological distance between the film and the audience. Camera works through medium and long shots build up the inner structure of its theme and characterization. The film also reveals a subtle use of images. Light and shadow and the strife pattern of dresses turn out to possess the richness of thematic depth and deep layers of meanings. Sound is directly collected from the streets of Milyang. No noise reduction work is attempted so that the voices and sound of real people can be captured as such. Music is used only four times, in a very restrictive way. This is for the sake of realism. Thus, these film-making techniques, visualization and camera works, lighting and image, sound and music, tactfully dissolve the barrier between the technical code of film language and theme.