한국영화를 통해서 본 로컬과 로컬리티

손은하 부산대학교 한국민족문화연구소 2009 한국민족문화 Vol.34 No.-

This thesis investigated how concepts of local and locality are used and are affecting in a research of Korean movies. First we traced viewpoint of recent investigators, who look at local and locality in movies under the Japanese imperialistic rule, through summae, and then we studied change of meanings through real movies. We found that, the meaning of word 'local' was what Joseon means to Japan under the Japanese rule, then changed to what farm villages mean to Seoul during modernization, and now is what characteristics of each area are expressed. As time passes, the meaning of location in movies changed from a stage offer, where characters act, to spatial surroundings related a dramatic plot revealing the property of the location. This was clearly shown in the movies throughout each period. In 1980s, it was often that places in Seoul are described. By the late 1990s, movies trying to present the images of each region appeared. With this context, the film commission now has a craze for public relations and location offer to attract filming (need some revision). To overcome this situation, which is limited the offering convenience in the production of films or introducing location. We concern our study in this thesis on investigating the effective characteristics that had not been studied before such as local feature, vividness, and originality. 본 논문은 한국영화연구에 있어서 로컬과 로컬리티의 개념이 어떻게 사용되고 변화되어 왔는가에 대해서 살펴본 논문이다. 먼저 일제강점기시의 영화를 통해 로컬과 로컬리티를 바라보는 최근의 연구자들의 시각들은 연구서들을 통해 추적해보았고, 그 이후에 변화되어가는 의미는 실제 영화를 통해 살펴보았다. 일제강점기시의 로컬의 의미는 일본에 대한 조선의 의미로, 근대화 시기에는 서울에 대한 농촌의 의미로 사용되었다가 지금은 각 지역의 특성이 드러나는 의미로 변모되었다. 시간이 흐르면서 영화의 장소의 개념은 등장인물이 연기할 수 있는 무대(stage) 제공의 의미에서 그 지역의 특성을 드러내고 극의 흐름과도 밀접한 관련이 있는 공간적 배경의 의미로 변화되었다. 이는 각 시대별로 영화의 작품 속에서 뚜렷하게 드러났다. 1980년대는 ‘서울’이라는 특정한 공간에 크고 작은 장소들이 묘사되는 경우가 많았고 90년대 후반에 와서야 각 지역들의 이미지를 표현하고자 하는 영화들이 등장했다. 이런 맥락으로 각 지역의 영상위원회에서는 로케이션 촬영의 유치를 위해 홍보와 장소제공에 열을 올리고 있는 실정이다. 그러나 영화제작의 편의사항 제공이나 로케이션 장소안내로만 그치고 있는 지금의 상황에서 벗어나 각 지역마다의 특색과 역동성, 독자성 등 지금껏 발견하지 못하고 묻혀있었던 여러 가지 특성들을 발굴해내야 할 필요성이 있다.

도시의 인공열 산정에 관한 연구 ( Study on Estimation of Urban Anthropogenic Heat Generation )

손은하,김유근,홍정혜 한국대기환경학회 2000 한국대기환경학회지 Vol.16 No.1

문화를 통한 도시의 이미지와 관광마케팅 - 부산의 ‘영화도시’ 이미지 만들기를 중심으로

손은하 동북아시아문화학회 2015 동북아 문화연구 Vol.1 No.44

The culture is being variously used, as its range of concept expands. Sometimes, to improve the image of the city, traditional culture or something containing potential value of the city is publicized. As the marketing through such culture is used in tourism, recently the cultural tourism attracts public attention as a form of alternative tourism different from mass tourism. Current package tourism make tourists lost their free will and push them only to consume the products, whereas the cultural tourism is reflected the latest social conditions, which want to see, feel and experience the region's culture and history. Nevertheless, even in the cultural tourism, most of tourists see the parts which are the things travel agencies or the media want to be seen due to the marketing elements. In the case of our country, while the local festivals as a field of the cultural tourism combined with cultural elements are used of a means to attract tourists, the cultural tourism festival is the most common type of that kind. Festival is also processed as a product selected from 'meaningful past' or 'traditional culture' of certain region. Of course, something, which has never been related to newly produced festival, is made with adding storytelling work and transplanting cultural value. The city of Busan is now working on the cultural festival of 'Busan International Film Festival' to solidify it as a city image beyond a tourism level. However, now is the time when the infra being able to produce films, not a film city only with its image, has to be established and its own independent programs have to be operated by budgetary independence.

지역서사의 변곡점(變曲點) - 부산 감천문화마을을 중심으로

손은하 전남대학교 인문학연구소 2022 용봉인문논총 Vol.- No.61

This thesis examines the change process of urban regeneration project targeting Gamcheon Culture Village located in Saha-gu, Busan. I looked at the reasons why the name culture was chosen, from the definition of the cultural village to examples by referring to the records in the literature. The narrative of Gamcheon Culture Village was investigated and the differences were compared with the cultural village creation project. Finally, in the current crisis situation, necessary parts were suggested in consideration of the situation and conditions of the village. About 10 years have passed since the project started for villages, and the problems of the urban regeneration project were analyzed and the limitations of the newly started 'Cultural City Creation' project were pointed out. Although the village became known as a tourist destination, except for the topographical factors of the village, various events and projects performed had similar outputs and noises that can be seen anywhere. Moreover, most businesses have been reduced or temporarily suspended due to the pandemic at a time when a new perception must be changed. Although it is a time when the necessary education and systems are needed in the non-face-to-face era, it is a difficult environment considering the population distribution, age, and social situation of the village. A system that can cope with a pandemic by analyzing the unique characteristics of this place needs to be built, and it is necessary to think in the humanities to create the locality of this place. 이 논문은 부산 사하구에 위치한 감천문화마을을 대상으로 하여 도시재생사업의 변화과정을 살펴본 것이다. 문화라는 이름이 선정된 이유를 문헌의 기록들을 참고해서 문화마을에 관한 정의부터 사례들까지 살펴보았다. 감천문화마을의 서사를 조사하고, 문화마을 만들기 사업과의 차이점을 비교해 보았고, 마지막으로 펜데믹 시기와 맞물린 지금의 위기 상황에서 마을의 상황과 여건들을 고려해 필요한 부분들을 제언하였다. 마을을 대상으로 사업이 시작된 지 10여 년이 지난 현재, 도시 재생 사업의 문제점을 분석하였고, 새롭게 시작된 문화도시만들기 사업의 한계점을 지적하였다. 마을이 관광지로서 이름을 알리게 되었지만, 그 마을이 지니고 있는 지형적인 요소 외에, 시행되는 다양한 행사와 사업들은 어느 곳에서나 볼 수 있는 아웃풋과 다르지 않았고, 잡음 또한 비슷하게 나타났다. 더욱이 새롭게 인식을 전환해야 할 시기에 코로나 펜데믹으로 인해 대부분의 사업들이 축소되거나, 잠정 중단되었다. 비록 비대면 시대에 필요한 교육과 시스템이 필요한 때이긴 하나, 마을의 인구분포와 연령, 사회적 상황을 고려했을 때 쉽지 않은 환경이다. 이곳만의 특성을 분석하여 펜데믹 시 대처할 수 있는 시스템이 구축되어야 하며, 로컬리티를 만들어 갈 수 있는 인문학적인 사고가 필요하다.

이질성과 표상 그리고 다문화와의 관계

손은하(孫銀河) 동북아시아문화학회 2014 동북아 문화연구 Vol.1 No.39

Korean society has entered into a multicultural society since rapid progressed influx of immigrants. Because We Korean have stuck to ethnically homogeneous nationalism, the encounter with those peoples brings a ‘fear’ of heterogeneity. furthermore, we requires the separation of space from them. This article discuss the Georg Simmel"s definition of stranger and their bright side with viewpoint of hybridity, mobility and objectivity. Homi K. Bhabha"s complicated issues; immigration, asylum and cultural deportation are also discussed in aspect of ‘the uncanny’. He refers the relationship of self & others is ‘uncanny’. Julia Kristeva gives counsel to us “yourself is also uncanny one to you.” These postcolonizing and postmodernizing narrative discourses also discussed in relationship of locality. In conclusion, I appeal the necessity of new paradigm of stranger in viewpoint of ‘The humanities of locality’ as a Others-oriented narrative.

타겟 크기에 따른 대기운동벡터의 크기 비교

손은하,조희제,김윤재,오미림 한국기상학회 2008 한국기상학회 학술대회 논문집 Vol.2008 No.-

공공미술로서의 지역 만들기와 예술촌의 역할

손은하 동북아시아문화학회 2011 동북아 문화연구 Vol.1 No.29

How has been used the concept of ‘publicness’ in the domestic public art? This concept of ‘publicness’ can be divided into three categories in the social science. The first one is the value of the public, the second one is the territory, and finally the subject performing its role. The meaning of the territory has something in common with public space. When the arts came out of the exhibition hall and was placed on the public space, it was affected by the mass and place. When the initial types of the arts were displayed, it brought about disputes with various points of publicness. It caused the necessity to pay attention on the concept “in-between” of Hannah Arendt. Not confronting between personal and public territory, you need to pay attention to the various communication opportunities maintaining the relationship while they are crossing their borders each other. Variability of view points has been formed and progressed since the formation of New Genre Public Art as social movements. However, it still have been causing confusion as the public art is explained as site-specific -art and community-oriented-art. Recently, the public art can be divided into three types: public arts, village regeneration, artist village. Each type has its own advantages and disadvantages and this study investigated the ‘Seoul Art Space Sin-dang’ as the third one. This one also is in need of artists' labor by the explanation through community-oriented-art's viewpoints. Therefore, it is necessary to differentiate in separate areas of the public arts.

색채에서 나타나는 상징적 셔레이드: 영화<우먼 인 골드>를 중심으로

손은하 인문콘텐츠학회 2019 인문콘텐츠 Vol.0 No.54

This study discusses the symbolic charades of colors in the film, <Woman in Gold>. The film is based on a trial by the Austrian government and the protagonist about the retrieval of cultural property for Gustav Klimt's portrait of Adele Bloch-Bauer. The film is used in golden color as the main symbol charades. It was applied when expressing a warm and mild atmosphere and expressing an authoritative and oppressive atmosphere. The dual image also appears in the color psychology of yellow. For Maria, this picture is a subject of childhood memories and a dual feeling of fighting the country and looking for it again. Also, the code that achromatic color talks about is the recollection of the past and the color of bloody and heavy memories. The Nazi red armbands on the gray-coloured streets made perfect contrasts that frightened the audience. At the end of the film, there is a scene in which the current Maria visits her home and into the scene from which she had appeared. It completely changes the color image and confirms that this film uses color as symbolic charades. 이 연구는 영화 <우먼 인 골드>에서 나타난 색채의 상징적인 셔레이드를 살펴본 것이다. 영화는 구스타프 클림트의 그림 ‘아델레 블로흐의 초상(Portrait of Adele Bloch-Bauer)’을 두고 오스트리아 정부와 주인공이 문화재 환수에 관한 재판을 벌이는 내용이다. 이 영화는 황금색이 주요한 상징 셔레이드로 사용되고 있는데 따뜻하고 온화한 분위기를 나타낼 때, 그리고 권위적이고 억압적인 분위기를 표현할 때 적용되었다. 이중적인 이미지는 노란색이 가지고 있는 색채심리에서도 나타난다. 마리아에게 있어서 이 그림은 어린 시절 추억의 대상이자 국가와 싸워 다시 찾아야 할 이중적 감정이 깃들어 있다. 또한 무채색이 이야기하는 코드는 과거에 대한 회기, 그리고 살벌하고 무거운 기억 속의 색채로 표현되고 있다. 회색빛으로 물든 거리에 나치의 붉은 완장은 완벽한 대비를 이루어 관객들로 하여금 공포심을 갖게 만들었다. 영화의 마지막 부분에 가면 현재의 마리아가 자신의 집을 방문하여 예전에 나왔던 화면 속으로 들어가는 장면이 있는데 색채 이미지를 완전히 바꾸어 이 영화가 색채를 상징적 셔레이드로 사용하고 있음을 확인시켜주고 있다.

교차상관방법을 이용한 대기운동벡터 자동 산출에 관한 연구

손은하,안명환 한국기상학회 2005 한국기상학회 학술대회 논문집 Vol.2005 No.-

공유 공간과 커뮤니티

손은하 동북아시아문화학회 2012 동북아 문화연구 Vol.1 No.32

Due to its own configuration, space can manifest various characteristics and also cause specific behavior. Shared space is a semi-public/private space, which is located roughly in between public and private space. In other words, it contains the closed part of public area and open part of private section. From the emotional point of view, this space is capable of healing mental disease of the lonely moderns by the intimate relationship among humans, connection each other, and communication. This space is divided into ‘territoriality’, ‘accessability’, and ‘functionality’ based on its function. It is also summarized by categorizing it into friendly relation, openness, and humanity based on its emotional point. Moreover, this space has a point of contact with the expression of modern community. Being obscure among boundaries of modern communities is very similar to the point that the boundaries are ambiguous as the shared space is laid across both public and private section. Moreover, that the shared space is developed in a type of network can be compared with the characteristics of the shared space to make connection with humans. Open and public characteristics have the similar direction with what this space is pursuing. Based on these characteristics, the amenity plan was applied as an activation plan for the community. Especially, constructional amenity plan is progressed focusing on convenience, nature-friendliness, esthetic appreciation, and culture. Amenity plan, which applies landscape architecture, means comprehensive comfortableness of the environment after all, and also a paradigm which can improve the quality of space. Moreover, physical environments and programs for environmental improvement and community activation are capable of building a community infrastructure. Like the architectural amenity plan, the shared space can also lead the characteristics of the public space to the private space, which forms inter-relationship with intimacy. Thus it is highly probable that the community can be activated in the space. The interior and the exterior in architecture can be considered by applying them to the public and private space.