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김시무(Kim. Seemoo) 한국영화학회 2014 영화연구 Vol.0 No.60
The purpose of this paper is to supervise the works of art of director Lu Zhang(1962) through the concept of ‘the homelossness(Heimatlosigkeit)’. So far, all studies on director Lu Zhang was focused on the concept of Diaspora. In fact, according to scholars, the concepts of the Diaspora are closely related to the concepts of ‘loss of nationality’, or ‘home loss’, because you can not think both positions appear separately. It sounds like the concepts of loss of nationality and of home loss tends to be regarded as the same. This researcher carried out the study from the premise that a national loss and home loss are overlap, but both technically are different concepts. Lost their nationality is not lost even a home. Nationality is safe and kept it as it is not home. We have usually understood Immigration in categories of trans-national, because we think about Immigration as moving across the country. However, recent research has preferred the concept of trans-local. They began to think about the Immigration as the creation of a new neighborhood in other areas. In this context, this researcher want to argue that Diaspora should not be understand in the point of view of trans-national, but of trans-local. This researcher think that a series of works of director Lu Zhang meets such examples. In Grain in Ear, the heroine Soon-hi, who originally belong to community of Koreans, had fled around the area of the non-resident Koreans to avoid the glare of the wind because of her husband’ crime. In The Border, refugees Soon-hi and her son Chang-ho attempt to build a new neighborhood in Mongolia Prairie where a few people lived. In Iri, the heroine Jinseo is wandering like a ghost in strange place after her home Iri City has disappeared without a trace by explosion, turned into the name of Iksan City. In Chongqing, the heroine Xu who escaping her hometown Chongqing which is going to devastate due to urbanization, tries to build a new neighborhood in a new city of Iksan in Korea. In The Dooman River, Chang-ho, China’s ethnic Korean nationality, had to defend the faith by death, as soon as the refugee friend Jungjin was arrested by the Chinese police. In this paper, this researcher tried to show that through the work of these keywords are home loss characteristics, and there are common in that some form of hero are in an attempt to build a new neighborhood in other countries. To overcome the loss of home in a new neighborhood is none other than the creation of a trans-local.
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김시무(Kim Seemoo) 한국영화학회 2003 영화연구 Vol.- No.22
The aim of this thesis is to study the Structuralist Semiotics of Film, especially the differences between the Semiotics of the Cinema by Metz and the Semiotics of the Cinema by Wollen. The intellectual movement called structuralism swept away in Europe in the 1960s. This main stream of thought had a great impact on film theory too. In terms of film, the adoption of the methods of the structuralism constitutes a challenge to classical film theory which represented by formalism and realism. In this period film semiotics championed by Metz came to the center of the analytic enterprise. In a sense, film semiotics was considered to be an epistemological break with the impressionistic, subjective methods of earlier film theory and criticism. In formation of contemporary semiotics, there are two source thinkers, the one is the Swiss linguist Ferdinand de Saussure and the other the American pragmatic philosopher Charles Sanders Peirce. Saussure founded the science of 'semiology' and Peirce the science of 'semiotics'. In A Course in General Linguistics (1916), Saussure called for a science that studies the life of signs. Saussure made what is now a famous distinction between langue(language) and parole(speech), He focused on langue rather than parole. Saussure' approach was to study the language system synchronically rather than diachronically. Saussure offered two-part model of the sign. Focusing on linguistic signs, he defined a sign as being composed of a signifier and a signified, For Saussure, a linguistic sign is not a link between a thing and a name, but between a concept(signified) and a sound pattern(signifier). Here the most important thing is that Saussure stressed the arbitrariness of the sign. That is, there is no necessary, intrinsic and inevitable relationship between the signifier and the signified, The Saussurean legacy of the arbitrariness of the signs leads semioticians like Metz to stress that the relationship between the signifier and the signified is conventional-dependant on social and conventions which have to be learned. In contrast to Saussure' s dyad model of the sign, Peirce offered a triadic model: the representamen, the interpretant and the object. The representamen is similar in meaning to Saussure' s signifier while the interpretant is similar in meaning to the signified. However, the interpretant has a quality unlike that of the signified: it is itself a sign in the mind of the interpreter. Peirce's model of the sign includes an object(referent) which does not feature in Saussure' s dyad model. Peirce is a compulsive taxonomist and he offered the three modes of signs: the symbol, the icon and the index. Here we explains the Peircean distinctions within a broadly Saussurean framework. The symbolic sign is a mode in which the signifier does not resemble the signified but which is fundamentally arbitrary or purely conventional, so that the relationship must be learned. The iconic sign is a mode in which the signifier is perceived as resembling or imitating the signified. The indexical sign is a mode in which the signifier is not arbitrary but directly connected in some way to the signified. Under the influence of structuralism, a number of important studies were published on the filmic language, notably Metz' s Film Language: A Semiotics on the Cinema, and Peter Wollen's Signs and Meaning in the Cinema, etc. The main project of these film semiotics was to define the status of film as a language. Metz and Wollen share the premise that the semiotics of the cinema is the theory of film as a system of signs. Both Metz and Wollen believe that the theory of film must become part of semiotics. However, they disagree slightly about the nature of semiotics. Metz' s chief purpose was to get to the bottom of the linguistic metaphor by testing it against the most advanced concepts of contemporary linguistics. In the background of Metz's discussion was Saussure' s founding methodological question r
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