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- 저자 : 김시무(Kim, See Moo) (검색결과 30 건)
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경성(京城)을 배경으로 한 사극(史劇)에 나타난 민족(民族) 담론
김시무(Kim See Moo) 한국영화학회 2009 영화연구 Vol.0 No.40
My aim in this thesis is to study National Discourses in so-called Korean Costume Films with setting in Capital Kyoungsung from 1930s to 1940s. As we all know, Kyoungsung is the capital of Chosun for the period of Japanese imperialism occupation. What is a costume film? According to F. E. Beaver, a costume film is a motion-picture genre characterized by historical pageantry and spectacle. Since the beginning of the film narrative, the costume spectacle has been a commercial mainstay of the screen. In this context, I would like to call these films with setting in Capital Kyoungsung a costume film. My main point is that while a costume film is based upon fictional events, a historical film is based upon historical facts. As in the past, a historical film with setting in Japanese imperialism seeks to express a national consciousness. However, present costume films have a tendency to fling off an oppressive feeling on historical facts. With this premise, I deal several Korean films with setting in Japanese imperialism. These films are Radio Dayz(2008), Modern Boy(2008), Once Upon a Time(2008), and Shadow Murder(2009). First of all, these films seek to escape from the matrix of The National History. Also these films seek to represent Kyoungsung as a space of play and freedom. Nevertheless, there is a common feature in these films. That is, these films deal with a question of national discourse unconsciously. The reason that I'm taking notice of such a question is that there is still a ghost of nationalism haunting in these films with setting in Japanese imperialism. According to professor Kim. Kibong, this results from that a historical consciousness of Korean people is still stick to the matrix of The National History. Externally, these films aimed to express the mood and spirit of modem times and to expose the personal desire of modem boy & modem girl. However, internally, these films were caught in a trap of nationalism, that is, of grand discourse of the national. Therefore, in this thesis my main task is critically to inquiry an obsession of anti-Japanese sentiments, and then, to seek the method to escape from the matrix of The National History. Beyond this matrix, we have to seek diversities of discourse. These films are on the way from the matrix of The National History to the desert of the Real.
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김시무(Kim See Moo) 한국영화학회 2008 영화연구 Vol.0 No.36
This thesis is a study of the psychoanalytic semiotics of film, which focuses on Lacan's theory of subject and Peirce's Triadic Categories of Signs. Lacan has long been a name associated with the analysis of film. He has played a fundamental role within film studies. Ironically, as film theory was developing a line of Lacanian thought that focused on the imaginary and the symbolic in the late 1960s and 1970s, Lacan himself turned toward the Real as the central category of experience. The point is that the signifier's authority is not absolute, but dependent on failure. Therefore the symbolic is not perfect, there is a barrier too. Here failure is necessary because the signifier must open up a space through which the subject can enter. If there are no new entrants, no new subject. The subject emerges only because the symbolic order remains incomplete and split. According to Lacan, the Real is not simply what resists symbolization absolutely, but also the pivotal category in the process of subjectivization. In this context, I deal with the questions proposed by the so-called New Lacanians, Slavoj ?i?ek and Todd Mcgowan etc.. Instead of concentrating on the imaginary and the symbolic, when assessing the film experience in relation to a spectator(the subject), they focus on the imaginary and the Real. And, especially, ?i?ek concerns with the concepts of jouissance(enjoyment) and the drive. In this thesis, I would like to propose an alternative. It is the developmental semiotics, which focuses on Peirce's Triadic Categories of Signs. In emphasizing the dyad, most of modem psychoanalytic film theories have overlooked the Third as the grounding context. The American pragmatist Peirce carefully traces a triadic structure built on the foundation of his three categories of relation: firstness, secondness, and thirdness. In this thesis I hope to show how the Peirce's Triadic Categories of Signs and Lacan's three registers complement each other. According to Peirce, First is the conception of being or existing independent of anything else, Second is the conception of being relative to something else. And Third is the conception of mediation, whereby a first and a second are brought into relation. We could find the model of triadic signs of Peirce in Director Krzysztof Kieslowski's artistic film The Double Life Of Veronique. The story itself is intriguing: Two girls are born at the same time in Poland and France. Veronika lives in Poland and Veronique lives in Paris. They're identical. They are the two soul-mates. Both suffer from heart failure and are blessed with beautiful voices. However, they don't know each other. Veronika gets a place in a music school, works hard, but collapses and dies on her first performance. At the same time, Veronique's life seems to take a turn and she decides not to be a singer. The Double Life of Veronique is a highly cerebral story of two people who feel a profound connection with someone they do not know and have never met. This film is a highly provocative film that examines a soul's search for identity and connection. The triadic signs of Peirce and three registers of Lacan could be applied to this film as follows; Firstness is the realm of the unbounded, undifferentiated state, a state of potential, therefore firstness is correlated with Lacan's register of the Real. Distinct from reality, which is a social construction, the Real is that aspect of experience beyond an epistemological frontier. In the category of firstness, signs relate to their objects by way of resemblance through qualitative similarity; such signs that relate to their objects by way of resemblance are known as icons. For example, when Veronika first met Veronique in Poland, she feels an uncanny emotion. Because they are too identical. That is, Veronique is the icon of Veronika. Secondness is the dynamic category of force and impact, in particular the kind of impact that takes place in a dyadic relation. I
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제4차 산업혁명 시대의 교양교육 -영화를 활용한 ‘포스트휴먼’에 대한 고찰-
김시무 ( Kim See-moo ) 숙명여자대학교 교양교육연구소 2020 교양교육과 시민 Vol.1 No.-
In the era of the Fourth Industrial Revolution, new changes were inevitable in the general education at each university. The achievement of higher education is seen in the balance of two wings: major education and general education. The importance of general education, which is one axis, cannot be overemphasized. In order to respond appropriately to the new industrial era, basic understanding of big-data analysis, artificial intelligence, robotics, internet of things, unmanned transportation, 3D printing, and nano-technology is urgently required. In this paper, we will look into artificial intelligence and robotics in several films from the perspective of posthuman, which is based on the judgment that it can be very useful as a basic material for general education. This study will examine ‘Post-Human’ as the subject of ‘bio-mediated’ in adventure action films as part of general education. Post-Human is a concept that collectively refers to artifacts such as artificial intelligence, robots, androids, clones, cyborgs, etc., built on advanced science and technology. According to Rosi Braidotti, ‘Post-Human’ is a conceptual persona, such as ‘feminist subject’, ‘cyborg subject’, ‘nomadic subject’, ‘Onco Mouse’ or ‘duplicate Dolly the sheep.’ It is called figuration. What human beings have merged with technology will become non-human, which is constantly evolving and close to humans due to the development of technology, and eventually reborn as a posthuman. Braidotti presupposes in her book The Posthuman that “human longitudinal superiority is deconstructed, hybridized, and the embodied structure of the expanded self forms a natural-cultural continuum.” She argues that “the subject is a transversal being completely submerged and inherent in the network of relationships that are non-human such as animals, plants, viruses, etc.” Braidotti explores the post-human subject model from a post-anthropocentric perspective. Becoming-animal, becoming-earth and becoming-machine are experimental attempts to reconstruct the relationship between the self and the other. This study will explore posthuman subjects based on this premise. Although science fiction films and adventure action films do not use the concept of ‘post-human’, they have been portraying ‘posthuman’ characters as subjects of ‘bio-mediated technology.’ In this paper, the characters in the Batman series are analyzed in terms of ‘becoming-animal’, and characters of RoboCop and Chappie are analyzed in terms of ‘becoming-machine.’ The possible fictional characters in these movies may be real in the future. Case studies through films will help change general education in the era of the Fourth Industrial Revolution. We can also grasp the importance and necessity of ‘integrated arts education’ as a way to develop university general education to foster intelligent people.
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