『귀멸의 칼날』 속 혈귀의 상징적 함의

최주호(Joo-Ho Choi),안숭범(Soong-Buem Ahn) 경희대학교 K-컬처·스토리콘텐츠연구소 2024 스토리콘텐츠 Vol.- No.4

원작 만화와 애니메이션을 필두로 한 ‘귀멸의 칼날’ 시리즈는 전 세계적으로 선풍적인 인기를 기록하여, 2010년대 이후 등장한 일본 문화콘텐츠 중 가장 주목도가 높은 작품이다. 그중 만화 『귀멸의 칼날』은 ‘귀멸의 칼날’ 시리즈의 원형 콘텐츠로서 해당 시리즈의 주제를 가장 완결성 있게 드러내고 있어 연구 가치가 높다. 본 고는 『귀멸의 칼날』의 스토리텔링을 분석함으로써 작품이 지닌 사회문화적 함의를 밝혀내는 것을 목적으로 한다. 『귀멸의 칼날』의 서사적 특이성은 작중 등장하는 ‘혈귀(鬼)’에 있다. 혈귀는 초반에 주동 인물이 쓰러트려야만 하는 절대악으로 묘사되나, 작품이 진행될수록 그 성격이 다층적으로 변한다. 이러한 혈귀의 특이성은 『귀멸의 칼날』의 서사에 큰 영향을 미치며, 최종적으로 작품의 주제의식과 연결된다. 하지만 현재 국내 선행연구에서 혈귀는 그 중요성에 비해 주목받지 못하고 있다. 이에 본고는 혈귀를 중심으로 작품의 스토리텔링을 분석하고자 한다. 스토리텔링 분석을 위한 방법론으로 안숭범의 ‘스토리 밸런스 방법론’을 사용했다. 스토리 밸런스 방법론은 다음과 같은 점에서 혈귀를 중심으로 『귀멸의 칼날』을 분석하는 데 적합하다. 첫째, 사건이나 장면을 중심으로 하는 기존의 서사 분석 방법론과 달리 캐릭터를 중심으로 작품의 서사를 분석한다. 둘째, 주동인물이 아닌 ‘부정적 인물’을 중심으로 작품을 분석한다. 본 연구는 『귀멸의 칼날』에 대한 선행연구에서 크게 조명받지 않았던 혈귀에 집중하여 작품을 해석했다는 점, 스토리 밸런스 방법론을 스토리 시간이 긴 발전형 길항서사에 적용할 수 있게 확장하였다는 점에서 의의가 있다. The “Demon Slayer” series, including the original manga and anime, has become extremely popular around the world and is one of the most important Japanese contents to emerge since the 2010s. Among them, the manga “Demon Slayer” is the original content of the “Demon Slayer” series and has a high research value as it reveals the theme of the series in the most complete way. This paper aims to analyze the storytelling of “Demon Slayer” to reveal the socio-cultural implications of the work. The narrative uniqueness of the “Demon Slayer” lies in the ‘Oni’ that appears in the series. In the beginning, ‘Oni’ is depicted as an absolute evil that the protagonist must defeat, but as the work progresses, its character changes in a multilayered manner. The specificity of ‘Oni’ has a great influence on the narrative of the “Demon Slayer”, which is ultimately connected to the thematic consciousness of the work. However, in the current Korean literature, ‘Oni’ has not received much attention compared to its importance. Therefore, this paper aims to analyze the storytelling of the work by focusing on ‘Oni’. As a methodology for analyzing storytelling, I used Ahn's ‘Story Balance Model’. The story balance model is suitable for analyzing “Demon Slayer” centered on the ‘Oni’ in the following ways. First, unlike traditional narrative analysis methodologies that focus on events or scenes, this methodology analyzes the narrative of a work by focusing on characters. Second, the work is analyzed through the eyes of a villain rather than a protagonist. The significance of this study is that it analyzes the work by focusing on the ‘Oni’, which have not received much attention in previous studies on “Demon Slayer”, and that it extends the story balance model to a developmental antagonistic narrative with a long story time.

문학,문화 : 아모레퍼시픽 브랜드 사이트의 스토리텔링 연구 - 최소 서사론과 스크립트 이론의 적용을 통해

안숭범 ( Soong Beum Ahn ) 경희대학교 글로벌인문학술원 2011 비교문화연구 Vol.23 No.-

Today the company`s brand sites are in tendency locating as a handy method to administrate company vision, value and image. So this study tried to examine the aspects of storytelling around Amore Pacific`s brand site. To secure the discussion`s centrality and concreteness, two issues are considered to be aimed in methodology. First, the menus of relevant site were examined to see if they are securing minimal narrative. This was an attempt to discuss the minimum narrativity that target text is supposed to possess, to objectify little more the term ``storytelling.`` After considering the menus of relevant site through narratological ideas of Gerald Prince, the menus that satisfy the level of minimum narrative were hardly seen. Even ``OUR STORY``, showing the intention of unraveling the vision and values within the company brand by stories, is not seemed to be reaching universal, objective storytelling. Second, pragmatic, reception theory were applied as another standard to judge storytelling possibilities of Amore Pacific`s brand site. Roger C. Schank`s script theory, being considered in the field of cognitive linguistics and cognitive psychology, became a handy tool for examining the interactions and its meaning between brand sites and its visitors. As a result, the relevant site could be seen as attempting storytelling following time sequence, through narrator kindly explaining ``visual image-event.`` And it was conjecturable that, because of such function of narrator, visitors finishes storytelling in a personal shape by operating internal story based script. This study examined the level and methods of storytelling limited in online environment called as company brand site. But more studies are needed to be in progress, such as about the ways for company websites or brand sites to have an effective, continuous influence on potential consumers, narrator set-up ways suitable for character of subordinate menus, organizations of minimum narrative and so on.

‘숨은 신’의 시대에 대한 문화번역의 문제

안숭범(Ahn, Soong-Beum) 한국만화애니메이션학회 2018 만화애니메이션연구 Vol.- No.52

이 글은 동명의 한국만화를 원작으로 취한 할리우드 영화 〈프리스트〉의 각색을 살펴보며 문화번역 과정에서의 딜레마에 접근하기로 한다. 원작과 영화를 비교한 결과, 〈프리스트〉는 만화 원작의 장르혼종적 서사구성, 철학적 · 신학적 질문을 야기하는 다층적인 인물관계망, 개성 뚜렷한 기존 서사물에서 받은 영감을 제대로 수용해내지 못한 점이 확인되었다. 다만 영화는 세기말적 상황과 종말론적 분위기, 탈국가적 배경, 삶과 죽음의 경계를 교란하는 자들로부터 오는 공포 등이 영화 세트를 포함한 미장센 차원에서 부분적으로 구현되어 있다. 서사적으로는 두 가지 갈등라인으로 이야기 흐름이 집약되어 나타난다. 먼저는 사회의 모순과 부조리를 겨냥해 가는 반영웅의 내면적 여정이 나온다. 한편, 뱀파이어 세계를 훼파시키기 위한 사적 복수의 여정, 곧 외면적 여정이 더 직접적으로 장르적 쾌감을 견인한다. 중요한 건, 그러한 서사적 변화로 인해서 만화원작이 지닌 개성이 상당부분 소거된다는 점이다. 이 글은 문화번역 과정에서의 ‘변형’을 서사적으로 비평해 보았다. 지면의 제약과 논지의 집중성 제고를 위해 여기서는 만화 원작의 영화화 결과에 대한 가치판단에만 집중했다. 연관성 높은 문화산업 분야인 ‘만화-영화’의 형식적 · 기술적 · 미학적 차이에 대한 논의는 이후의 연구로 남겨둔다. 또 매체변이에 있어서 우선 고려해야 할 사안에 대한 실용적 논의도 다음 기회에 밝혀나가도록 하겠다. This paper assesses the movie, Priest, adapted by Hollywood from the Korean comic book series of the same title, exploring several dilemmas inherent in the process of cultural translation. As a result, Priest eliminates every trace of a creative acceptance of insight from narratives in which a multilateral network of characters raises theological and philosophical questions; it also abandons the original comic’s narrative structure, based on crossover genres. The apocalyptic atmosphere, situation at the end of the century, post-national background, and fear of beings who disturb the boundary between life and death are only partly represented through the movie’s settings, scenery, and sets. In short, the significance and strategy behind “the difference” between the original comic books and the film adaptation do need to be analyzed. This paper has therefore explored the way in which the narrative medium has been modified and rearranged to achieve its intended purposes. It focuses on assessing the extent to which the film successfully adapts the original comic book series, given the restrictions described above. Further research that discusses the aesthetic, formal, and technological differences between comic books and films, within closely integrated cultural industries, is strongly encouraged. In addition, further research could explore practical issues related to these very different narrative media.

문학,문화 : 자동차 TV광고의 스토리텔링에 내재된 이데올로기 비판 -2008~2010년 그랜저 TV광고를 중심으로

안숭범 ( Soong Beum Ahn ) 경희대학교 글로벌인문학술원 2010 비교문화연구 Vol.21 No.-

This writing verifies ideology producing unethical stratification or discrimination targeting on Grandeur`s TV commercial after 2008. And attempts to point out the utopia desired by those commercials reproduces distorted ideology at Korean society. To achieve this, the analysis model was postulated utilizing narratology and semiotics system in application. The result of discussion, is that the 2008 ``Grandeur New Luxuly`` commercial can have utilized the inflected Patriotism and sexual fantasies as the core strategy of storytelling. The fact trebly othering women`s body from the point of view of gender ethics can be pointed out as the biggest problem in this commercial. 2009 ``Grandeur New Luxury`` frankly stimulates costumer`s desire of stratum rise and possessiveness, circulating the logic ``owning a vehicle`` is a proof of their existence. Also considering the meaning woman narration takes up in corresponding commercial, criticism utilizing feminine signifier as a tool to reinforce male success legend was available. Finally 20l0 ``The Luxury Grandeur`` commercial was able to make a judgement using the mechanism of present consumption culture cleverly which Baudrilliard and Althusser has critically recognized. Because commercial images precisely utilizes the mistake called the ``phantasme-meconnaissance`` or the ``reconnaissance-meconnaiessance`` that consumers easily make. Reminding TV commercials exerts control power against unspecified many sitting in front of the TV, continuous studies with same interest are needed in the future. This writing will be able to have a meaning as attempting narratological methodology for analyzing the storytelling of car TV commercials. But systemizing the criticism about the commercial as a single narrative with going through theoretical supplementation is being respected in the future.

영화에 나타난 이중구속의 애도작업으로서 시 쓰기

안숭범(Ahn, Soong-beum) 한국외국어대학교 외국문학연구소 2011 외국문학연구 Vol.- No.41

This study takes notice of process practising mourning work as double bind through ‘writing poetry’ aimed at 〈Poetry〉 and 〈Eternity and a Day〉. By way of Derrida's viewpoint, the protagonists in these two movies are getting over the pain gained between continuing mourning request and incomplete mourning work by ‘writing poetry’ work. Their ‘writing poetry’ has similar meaning by intending ethicㆍesthetic mourning, but shows distinction inform of concrete mourning. For example, in 〈Poetry〉 Mija's ‘writing poetry’ can be called by resistance of ‘introjection’ noted as reasonable form of mourning. It is due to implicit character in the form of 'introjection' that being asked by community. Eventually ‘song of Agnes’ written by Mija causes resonances the courtesy which survived ones must keep for the dead middle-school girl. Trying to complete the mourning work of double bind, Mija's agony has concluded as ‘song of Agnes’. Meanwhile in 〈Eternity and a Day〉 Alexander's ‘writing poetry’ is the mourning work primary about deceased wife and ‘house by the sea’ to be torn down, on the other hand about limited left life of himself. Reaching to the movie's end, Alexander discovers his othernized portrait through three poetic terms and internalizes sympathy and hospitality about strangers including himself. To obstinately classify the aspects of mourning work, Alexander's mourning work has a form of ‘incorporation’ preserving the lost object inside of himself as it is. Ultimately, the spectator watches Alexander getting over the mourning work of double bind as a form of ‘incorporation’ and proceeds to welcome his life lived as an foreigner. 〈Poetry〉 and 〈Eternity and a Day〉 are able to have a high regard of metatext seriously reflecting the matter of ‘art-doing’ manifesting protagonist's mourning work to the form of ‘writing poetry’. If living a life reflecting the form and process of mourning is needed anytime, 〈Poetry〉 and 〈Eternity and a Day〉 will be needed to be more examined. 본고는 〈시〉와 〈영원과 하루〉를 대상으로 이중구속으로서 애도작업이 ‘시 쓰기’를 통해 실천되는 과정에 주목한다. 데리다의 관점을 경유하면, 두 영화 속 주인공들은 지속되는 애도요청과 불완전한 애도작업 사이에서 얻어지는 고통을 ‘시 쓰기’ 작업으로 극복해 간다. 그들의 ‘시 쓰기’는 윤리적ㆍ미학적 애도를 의도한다는 점에서 유사한 의미를 지니지만, 구체적인 애도의 형식에 있어서는 차이를 보인다. 이를테면, 〈시〉에서 미자의 ‘시 쓰기’는 합리적인 애도 형식이라고 알려진 ‘입사’에의 저항이라고 할 수 있다. 공동체로부터 강요받는 ‘입사’의 방식이 비윤리적인 성격을 내포하고 있기 때문이다. 결국 미자가 쓴 ‘아네스의 노래’는 죽은 여중생을 향해 살아남은 자가 지녀야 할 예의를 공명시킨다. 이중구속의 애도작업을 홀로 완결하려 했던 미자의 고뇌가 ‘아네스의 노래’로 귀결된 것이다. 한편 〈영원과 하루〉에서 알렉산더의 ‘시 쓰기’는 일차적으로 죽은 아내와 허물어질 ‘바닷가의 집’에 대한 애도작업이면서 한편으로는 얼마 남지 않은 자기 생에 대한 애도작업이라고 할 수 있다. 영화 말미에 이르면, 알렉산더는 세 개의 시어를 통해 타자화된 자신의 초상을 발견하고 자신을 포함한 이방인들에 대한 연민과 환대를 내면화한다. 애도작업의 양상을 굳이 구분하면, 알렉산더의 애도작업은 상실된 대상을 자기 안에 그대로 보존하는 ‘합체’의 형태를 띤다. 궁극에 가서, 관객은 이중구속의 애도작업을 ‘합체’의 형태로 극복해 가는 알렉산더를 바라보면서 이방인으로 살아 온 그의 삶을 환대하는 데까지 나아간다. 주인공의 애도작업을 ‘시 쓰기’의 형태로 현현한 〈시〉와 〈영원과 하루〉는 ‘예술하기’의 문제를 진지하게 성찰한 메타텍스트 metatext로도 그 가치를 높이 살 수 있을 것이다. 언제든지 애도의 형식과 절차를 성찰해야 하는 삶을 살아야 한다면, 〈시〉와 〈영원과 하루〉는 좀 더 검토될 필요가 있을 것이다.

‘쁘띠 프랑스’의 스토리텔링 전략에 관한 연구

안숭범(Ahn Soong Beum),최혜실(Choi Hye Sil) 한국외국어대학교 외국문학연구소 2012 외국문학연구 Vol.- No.45

This study analyzes storytelling strategies of ‘Petit France’ which presented meaningful singularity as small scale of theme park. Despite its restricted interior space ‘Petit France’ has arranged measures for maximizing tourists’ experience elements. Generally theme parks is created as total of various contents which takes charge of ‘4E/4S(event, entertainment, education, eating/ stay, shop, show, story)’ functions lined up inside. For that reason multi-media, multi-sense storytelling has to be properly considered through exhibit contents, performance contents, image contents and so on. However ‘Petit France’ is in the absence of ‘show’ presenting glamorous spectacles, and also totally excludes attraction that measures for giving ‘feel of amusement’ does not have shape. Analyzing based on contents’ diversity, it is doubtful to think that descriptive measures widening tread of experience is realized. Nevertheless, ‘Petit France’ has stood out in effective action of ‘storytelling strategies’ by having other tactics redoubling interaction between visitor and space. Drawing through successful case of ‘Petit France’, small theme park is needed to establish an elaborate strategies from storytelling’s point of view to capture various visitors who have desire for experience tourism. Such as extraction of core story welded with theme, systematization of circulation to enjoy core story arbitrary and personally, contextualization of detail space to extend tread of experience, spatialization of core story for dynamic interaction, commercialization in medium and long term connected to local culture tourism resources and so on. This study analyzed storytelling of small theme parks based on ‘Petit France’ which comparatively operated in success. Supposing theme parks’ characters and types change operating methods or commercialization measures, related studies should be worked more and more afterwards. Related studies should accelerate, so providers and local governments who wants to create small theme parks awakens importance of strategic space planning.

〈천년여우 여우비>와 〈벼랑 위의 포뇨〉 변신 모티프의 윤리적 의미

안숭범(Ahn Soong-beum) 한국외국어대학교 외국문학연구소 2010 외국문학연구 Vol.- No.39

??Animations are easy to visualize fantasies through free modeling of image. This feature of animations makes accommodation of Metamorphosis Motif inherent mythical imagination easily. As Metamorphosis Motif also performs important function in Yobi, The Five Tailed Fox and Ponyo On The Cliff, it is interpreted revealing ethical implication related with main concept. More concretely, Metamorphosis Motif inserted in these two works seems to emphasizing main concept with demanding particular ethical stance, after magnifying the meaning of symbolic narrative space. Thus this study takes notice at the relation formed between Metamorphosis Motif and symbolic narrative space in two animations, detecting its ethical message.<br/> ??A a result, the metamorphosis of Yobi and Shadow Detective reveals those kind of function discriminatively in Yobi, The Five Tailed Fox. First, despite facing human's prejudice and discrimination, Yobi shows her will of saving mankind by sacrificing herself. As Yobi's metamorphosis visualizes the will distinctly, it is to be called as the event of extending the ethic of 'Canava', the order of harmony and balance operating within. Whereas Shadow Detective's metamorphosis magnifies human world's self-protecting logic, imprinting that it results from unethical values to be denied. In Ponyo On The Cliff, we face the destructibility of human civilization through Ponyo transforming from fish into human. Especially Ponyo's last metamorphosis('being human' completely) is able to be the event about ocean living things damaged by human civilization demanding the restoration of ecological consciousness to mankind. In short, the Metamorphosis Motif inserted in Yobi, The Five Tailed Fox and Ponyo On The Cliff is to be accusing the space of oppression and alienation or discrimination and destruction, on the other hand, it effectively delivers necessitable truth which is ought to aim the space of harmony.<br/> ??Relation examination between Metamorphosis Motif and symbolic narrative space guarantees concreteness of result, limited to the works treated in this study. However, in the way that this is merely one of the methodologies, operations of defining aesthetic, semantic values of individual animations needs to be diversified.

포스트 아포칼립스 스토리텔링에 내재된 성장과 모험

안숭범(Soong-Beum, Ahn) 한국영화학회 2016 영화연구 Vol.0 No.68

본 연구는 한국 SF 애니메이션 중 유의미한 개성을 선보인 작품임에도 비평적 조명을 거의 받지 못한 <녹색전차 해모수>의 스토리텔링을 비판적으로 탐독하는데 목적을 둔다. 기초 분석 단계에서는 ‘포스트 아포칼립스’, ‘포스트휴먼’을 핵심 키워드삼아<해모수>가 베푸는 서사적 긴장의 두 층위를 해명해 보았다. 먼저 <해모수>의 표층적 긴장은 서사무대를 지배하는 시한부 종말론의 압박과 문명 복원의 열망이 부딪치는 중에 발생한다는 것을 확인할 수 있었다. 한편 심층적 긴장 혹은 미시적 긴장은 가정 회복을 위한 꿈을 포기하지 않은 소년, 소녀들이 대면하는 포스트휴먼들로부터 발생했다. 한편 그러한 서사적 긴장에도 불구하고 <해모수>의 스토리텔링은 일정한 한계를 분명하게 노정했다. 일차적으로 <해모수>의 ‘성장’은 자아와 세계의 자연스러운 상호작용 과정에서 그 결과로 나타난 게 아니었다. 주인공들이 경험한 ‘성장’은 기성세대가 확정해 놓은 ‘교훈의 성취’, ‘기획의 완성’, ‘임무 달성’과 관련되었다. 그 연장선에서 <해모수>의 ‘모험’을 보면, 개성적인 모험지들이 단속적으로 등장하지만 대부분 소재주의의 한계를 안고 있었다. 또한 모험에의 요구가 강박적으로 이루어진다는 사실을 확인할 수 있었다. 향후 작품론 차원에서 진행된 연구성과를 바탕으로 한국 SF 애니메이션에 관한 유의미한 통사를 기술해나가도록 하겠다. This research focuses on having a critical view on the storytelling of “Hamos, the Green Chariot, “which rarely got the critical spotlight despite the fact that it was one of the Korean science fiction animations that displayed a meaningful uniqueness. On the basic level of anaylsis, the two levels of epic tension provided by Hamos were analyzed by using the main keywords, “post-apocalypse” and “post-human.” First, the surface-level tension of the animation appeared during the case in which the pressure of a time-limited eschatology dominating the epic stage and the longing for the restoration of civilization clashes. On the other hand, the grok, or microscopic tension appeared from the post-humans who were faced by the boys and girls who did not give up their dreams of getting their families back together. Despite this kind of epic tension, the storytelling of the animation clearly displayed its set limits. Primarily, the idea of “growth” in the animation did not appear as a result of natural interaction between the ego and the world. The “growth” that the main characters experienced was related to the “preceptive accomplishment,” “the completion of planning,” and the “achievement of tasks” set by the older generation. For the “adventure” in the movie, although unique adventure sites intermittenly appeared, most of them had limits as they were subject-centered. Also, it became clear that adventures were necessary under pressure. Hereafter, based on the research results given by analyzing the works, a meaningful synoptic analysis on Korean science fiction animations will be given.

문화,문학 : 구도의 영화와 히에로파니적 시간 -<희생>과 <꽃섬>을 중심으로

안숭범 ( Soong Beum Ahn ) 경희대학교 글로벌인문학술원 2014 비교문화연구 Vol.34 No.-

This writing, focused on <Offret> by Tarkovsky and <Flower Island> by Song, Il-gon, examines moments of sage which is what Eliade described as ``hierophanic time``. These productions, which can be seen as movies that seek after the truth, show important paradoxical ideas and expressions in those moments. This is because symbolic messages from unrealistic and out of ordinary images are specifically shown. If they had to be compared, through the film <Offret> by Tarkovsky, the technical civilization of contemporary society in an apocalyptic view is criticized and saved, or the prophetic will to not give up the desire for salvation is shown. In the process, the short shots which forces to show hierophanic time not only diversely visualized the author`s ideological self-consciousness towards the conversion of the new world, but it also fulfills the metahistorical meanings mentioned by Eliade. However, in the film <Flower Island> by Song, Il-gon, the realistic personal sufferings of three women is specifically shown first in extreme. They overcome their unsolvable problems through mysterious rituals and belief in miracles. In the scenes that include hierophanic time, there are many cases that cover Christian faith and the meaning of salvation. In other words, we can say that hierophanic time in <Flower Island>, are related to conviction which led to moments of miracles in order to overcome reality. Therefore, even though there is a difference in the way authors use hierophanic time, the scenes that show it in the two movies display individuality of mythical imaginations disclosed by Eliade. This is because the general hopefor reproduction, or meaningful symbols related to the ideal conversion of affairs are revealed.

신상옥 연출 남북한 『춘향전』 원작 영화 속 몽룡 들 -정치사회학적 관점에서 본 캐릭터성격화

안숭범 ( Soong Beum Ahn ) 경희대학교 글로벌인문학술원 2016 비교문화연구 Vol.42 No.-

This is an attempt to analyze original films of ChunHyang Jun that Shin Sang-Ok filmed in North and South Korea, focusing on the character of MongYong. These films were made during political transition periods of North and South Korea. Sung ChunHyang was made during the second republic of South Korea, which was established after the collapse of Rhee SyngMan government; and Love, Love, My Love was made in North Korea during the period of power transfer from Kim Il-Sung to Kim Jong-Un. Considering these political changes, the character of MongYong seems to represent the figure of authority North and South Korean society of the time had in mind. First, MongYong in Sung ChunHyang has a strong image of a lover who repays ChunHyang``s devotion and sacrifice with romantic affection. As an authoritative figure, he has the aspect of a democratic leader or mediator. On the other hand, MongYong``s image in Love, Love, My Love is a heroic authority figure of the revolutionary class. He is a subversive reformer who shows love for the people and treats them favorably, gaining public desire. This research is expected to inspire more studies on the meanings of hit movies based on classic literature under synchronic terms.