영평상 – 신인평론상 / 최우수상 _ 안숭범 : 가해와 피해의 미로에 갇힌 엄마들 - <마더>와 <밀양>에 대한 윤리적 기억

안숭범 한국영화평론가협회 2009 映畵 評論 Vol.22 No.-

미혼모의 입양실천에서 ‘엄마 되기’와 모성의 재인 영화 <브로커>와 <트루 마더스>를 중심으로

안숭범,김경덕 한국콘텐츠학회 2023 한국콘텐츠학회논문지 Vol.23 No.10

The aim of this study is to reveal the diverse aspects of motherhood identified through single mother’s adoption practices. The films Broker and True Mothers contradict the myth of motherhood solidified under traditional family ideology, as well as readjust the concept of ‘motherhood’ sprouted from the fixed perception of blood relations and gender differences. Firstly, Broker shows the characters who participate on a journey of illegal adoption of the baby emotionally unite and exhibit the three-dimensionality of motherhood. Their roles and attitudes surrounding the baby show a potential of ‘collective motherhood’. They evoke the fact that motherhood is the object of ‘procedural acquisition.’ True Mothers displays in various ways the systemic inequality faced by women during pregnancy, childbirth, and child rearing. The film‘s ’becoming a mother‘ goes over two questions: “Can a biological mother who put her baby for adoption become a mother?” and “Can an adoptive mother who adopted the baby become a mother?” We can say that True Mothers shows the possibility of ’becoming a mother‘ as a dimension of ’reflective acceptance.

폭력의 재귀적 운동에 대한 징후적 독해—<소년심판>, <지금 우리 학교는>, <D.P.>를 중심으로

안숭범 대중서사학회 2022 대중서사연구 Vol.28 No.2

The purpose of this study is to symptomatically read the Netflix original series’ that depict the system and cultural characteristics of Korea realistically from the perspective of the ‘emergence of social structural violence.’ The central characters of the three works spend their adolescence and youth in environments rife with extreme violence. The covert ideology that enables a violent environment can be discussed in terms of the power and operation of state apparatuses discussed by Althusser. Although the subject matter and circumstances vary, the violence experienced by the central characters evokes the ‘mechanics problem’ that must be resolved by social imagination. To begin, Juvenile Justice depicts a situation in which the law, which functions as both a repressive and an ideological state apparatus, fails to accomplish its stated purpose. It accurately depicts the holes in juvenile law as a conduit for the dominant ideology shared by the older generation. As a result, the recursive nature of violence experienced through juvenile offenders underscores the necessity of ‘speculative justice.’ The ‘Jonas Virus,’ which emerges in All of Us Are Dead, occurs when an established society prioritizes its own survival while neglecting school violence. The virus then spreads rapidly among students who have exploited one another in order to establish themselves in a stratified society. Both the surviving children and Cheolbi denounce the social system that facilitates the spread of violence and, at the same time, denounce the older generation’s propensity to discipline. Finally, D.P. focuses on the process of carrying out the mission of ‘deserter pursuit,’ which accurately depicts the military discipline system’s oppressive use of consensual violence in response to the appearance of a sign of exceptionality. D.P. depicts the cycle of violence within the repressive state apparatus that is the military and calls on the prisoners to take a stand.

이중구속의 상처가 웅성이는 집 <더 웨일> 대런 아로노프스키

안숭범 한국영화평론가협회 2023 映畵 評論 Vol.35 No.-

[토론문] TV사극 속 궁중 직업여성 캐릭터 고찰

안숭범 글로벌문화콘텐츠학회 2022 글로벌문화콘텐츠학회 학술대회 Vol.2022 No.6

인터랙티브 감성완구 스토리텔링 기획 연구 - 스마트 플랫폼 모듈 개발을 위한 시나리오 개발

안숭범,김태룡 글로벌 문화콘텐츠학회 2016 글로벌문화콘텐츠 Vol.0 No.23

This study aims to suggest examples of “smart toy” plans, which has become the next-generation keyword for child-oriented industries. More specifically, this study will introduce the storytelling process for smart toys and the concrete method of scenario developments, which can fulfill the sense of enjoyment in playing as well as elicit educational effect. In terms of theory establishment, this study integrates research results from the fields of child development theory, play theory, personality theory, and emotion theory with intent to design toys optimized for the characteristics, tendencies, and educational needs of preschool children of ages from 4 to 7. About schemes of interaction between such toys and their users, the toys are designed to perceive users’ specific words and actions as one of the eight kinds of emotion introduced in James A. Russel’s prototype theory of emotion concepts. The emotion then received is refracted by the basic personality of the toy and converted to a specific mood. The moods were divided into a total of nine types by adding the “so-so” state, which indicates normal and stable state of emotion, to the eight kinds of emotional state. Even in each mood type, different states of feelings are to be recognizable and able to manifest themselves according to the difference of degree and levels. Ultimately, this study will help to identify the substance of the plan’s results clearly by presenting some parts of the input-user’s words and actions-and output-words and actions of toys-scenarios. In addition, this study puts emphasis on diversifying the forms of communication between the toys and their users by offering schemes to connect toys with smartphone applications. Henceforth, smart toys will not be limited to fixed merchandise in child-oriented industries and can become edutainment contents that guarantee expandability in the cultural contents industry group. This study is expected to offer some meaningful suggestions in the process. 본 연구는 키즈 산업의 차세대 키워드가 되고 있는 ‘스마트 완구’ 기획 사례를 제시하는 데 목적을 둔다. 더 구체적으로, 유희적 향유감을 충족시키면서도 교육적 효과를 끌어낼 수 있는 스마트 완구의 스토리텔링 프로세스와 구체적인 시나리오 개발 방법론을 소개하고자 한다. 이론 구축에 있어서는, 아동발달이론, 놀이이론, 성격이론, 감정이론 분야의 연구결과를 융합적으로 접목해 학령전기(4-7세) 아동의 특징과 성향, 교육적 필요 등에 최적화 된 완구를 의도하였다. 해당 완구와 사용자의 상호작용 방안을 말하면, 완구가 사용자의 특정한 말과 동작을 러셀의 감정원형 이론에서 소개된 8가지 감정 중 하나로 수용하도록 설계했다. 이때 수용된 감정은 완구가 기본적으로 가지고 있는 퍼스널리티에 의해 굴절돼 특정한 무드로 전환된다. 무드 타입은 앞에서 제시한 8가지 감정 상태에 평범하고 안정적인 ‘보통’ 상태를 추가하여 총 9가지 무드 타입으로 세분화하였다. 각각의 무드 타입 안에서도 정도 차와 수준에 따라 다른 기분 상태가 인식·발현될 수 있도록 했다. 궁극적으론, 인풋(사용자의 말과 동작)과 아웃풋(완구의 말과 동작) 시나리오 일부를 제시함으로써 기획 결과물의 실체를 선명하게 확인할 수 있도록 하였다. 이에 덧붙여, 스마트폰 어플리케이션과의 연동 방안도 함께 제시하여 완구와 사용자 간의 소통방식을 다각화하는 데에도 중점을 두었다. 향후 스마트 완구는 키즈산업 내 고정 상품에 국한되지 않고, 문화콘텐츠산업군 내에서 확장성을 보장하는 에듀테인먼트 콘텐츠가 될 수 있을 것이다. 이 연구가 그 과정에서 의미있는 시사점을 제공할 수 있길 기대한다.

FCB Grid 분석을 통한 유명인 출연 광고의 스토리텔링 방안 연구 -김연아 출연 광고를 중심으로-

안숭범 대중서사학회 2010 대중서사연구 Vol.- No.23

본고는 TV 광고에 유명인을 모델로 출연시킬 때, 모델을 어떻게 스토리텔링해야 하는가에 대한 시론적 성격의 연구다. 우선, 상품의 속성에 맞게 모델을 선정하는 작업이 중요하다고 판단하여 마케팅 분야에서 일반화된 FCB Grid 분석을 활용하였다. 이 분석틀은 상품 속성과 소비자 행동과의 관련성을 기준으로, ‘고관여/이성’, ‘고관여/감성’, ‘저관여/이성’, ‘저관여/감성’ 분야를 변별해준다. 이러한 분류에 따르면, 광고 대상으로서 특정 상품은 그것의 속성에 맞는 광고 방식을 가지고 있다고 할 수 있다. 이와 관련하여, 유명인은 대중에게 잘 알려진 이야기를 이미 갖고 있기에, 광고주는 상품 속성과의 관련성 속에서 신중하게 모델을 골라야 하는 한편, 광고의 스토리텔링을 전략적으로 각색해야 한다. 모델 선정 과정은 ‘콘셉트 스토리텔링’을 실천하는 것이 관건이며, 모델 선정 이후 광고 스토리텔링 각색 작업은 ‘기법으로서 스토리텔링’을 도모하는 작업이라고 할 수 있겠다. 이에 본고는 유명인 출연 광고의 한 사례로 김연아 출연 광고의 스토리텔링을 분석해 보았다. 논의의 집중도를 위해, 2009년 출연 광고 중에서 FCB Grid 모델의 네 영역을 대표한다고 볼 수 있는 ‘현대자동차’(고관여/이성), ‘라끄베르 화장품’(고관여/감성), ‘샤프란’(저관여/이성), ‘매일우유’(저관여/감성) 광고를 선정했다. 이들 광고의 스토리텔링은 메시지, 갈등, 등장인물의 관점에서 상이한 특징을 보였는데, 본고에서는, 메시지를 ‘주입형-계몽’/‘개방형-공감’으로, 갈등을 ‘외면적 갈등/내면적 갈등’으로 등장인물을 ‘실체적 정보 기반의 현실 인물/가상적 합의 기반의 캐릭터 인물’로 변별하여 고찰해 보았다. 논의 과정에서 FCB 각 상품 영역에 부합하는 메시지, 갈등, 인물의 세부 유형을 이론적으로 제시하였는데, 김연아 광고는 정합성의 측면에서 다양한 편차를 보여주었다. 그 결과를 수렴해 보면, 우선 적절한 스토리텔링 기획보다 소위 ‘빅 모델’에 과도하게 의존하는 한국 광고계의 일반적 현상이 확인되었으며 모델에 선재하는 이야기와 상품 속성이 유리되는 것은 물론, 모델 이야기의 각색 방식이 체계적이지 않은 상황이 노출되기도 하였다. 본고는 광고 모델의 스토리텔링 방안에 집중한 시론적 성격의 연구다. 광고 기획 절차 마다 세부적인 스토리텔링 방안이 따로 연구되어야 한다는 점에서, 앞으로 이 분야에 대한 연구가 다양한 관점에서 구체화되길 기대한다.

시와 영화의 수사학에 관한 정신분석적 일고찰 - 라캉의 '은유'와 '환유' 개념을 중심으로

안숭범 한국문학이론과비평학회 2009 한국문학이론과 비평 Vol.45 No.-

This paper seeks to shed a new light on the rhetorical relationship between poetry and films through the concept of metaphor and metonym demonstrated by Jacques Lacan. To this end, a study on the linkage between diaphor, conceptualized byPhilip Wheelwright, and the collision montage that is creatively renewed by contemporary films, will be conducted first. The shock of image and the sense of disparity between the core and satellite concepts in poetry are in line with a broad range of collisions and the effects thereof between different scenes in films. The aesthetic nature inherent in this kind of literature style can be painted in a different light with Lacan’s metaphor and metonym, which displays subtle difference from the conventional definition of rhetoric. First of all, Lacan’s metaphor differs from the comprehensive concept of metaphor, defined by the conventional rhetoric that is based on similarities of successive signifiers. However, Lacan’s metaphor becomes an appropriate conceptual tool for comprehending the “diaphor-collision montage”. Looking at the style of ambiguity that opens the door for aesthetic discussion in poetry and films, some replace signifiers to give shock to strange images, creating a whole new meaning. This is one of the methods of continuing the signifying chain, and the formula of metaphor set forth by Lacan becomes a meta-text that provides an efficient explanation of the comprehension process of readers. The “moment of endowment of meaning”, if it can be perceived as a metaphor (i.e. the effect of signifiers that come into being at the moment of choice and replacement), should then be consistent with the genuine unleashing of the “lesensobtu”stated by Barthes. Lacan’s metonym is similar to the conventional definition of metonym, since it accepts the principle of adjacency between signifying chains. However, Lacan’s metonym puts emphasis on the ceaselessly-postponed meanings, in other words, the sliding of the signified. The signifiers that have not been expressed generates deficiency, and deficiency produces a permanent desire that seeks to find the subject matter of loss. This process is formalized by Lacan’s formula of metonym—this is a “diaphor-collision montage” based on adjacency, but when it discloses the deficiency in meanings, Lacan’s metonym becomes a useful conceptual tool. For example, if the series of meaningless signifiers that are unable to express the omitted signifiers makes an imaginative fantasy, Lacan’s metonym formula can be the framework for explicating the aesthetic form. From the syntax perspective, contemporary poetry and films have a perfect rhetorical style, while there are increasing expressions that are isolated from true meanings. In light of this, Lacan’s metonym should be studied in a more profound manner in order to identify the aesthetic form of individual poetry and films. Poetry and films that are open to semantic structures require a more acute aesthetic sense from the reader, to which cases where people sense artistic aesthetics from individual works are closely related. Therefore, studies on the aesthetic form of “diaphor – collision montage” with Lacan’s metaphor and metonym should be conducted more widely in order to enjoy the aesthetic matter whose meaning is difficult to create.

영화 ‘첨밀밀’ : 정처를 잃은 인생들에게 보내는 연서, 홍콩

안숭범 국토연구원 2020 국토 : planning and policy Vol.463 No.-

판타지 소설 『야만인 코난』의 미학적 특질과 이데올로기

안숭범 문학과영상학회 2012 문학과영상 Vol.13 No.2

This study tries to analyze distinctive personality of fantasy novel as global story contents, by analyzing aesthetic feature and ideology of Conan the Barbarian, the first global fantasy novel. Conan the Barbarian shows form and aesthetic differentiated from existing novels containing fantasy tales and literary fantasies. This tells the reason why series of literary genre called ‘fantasy novel’ has to be newly distinguished. What to keep in mind is, narrative features and forms of Conan the Barbarian contains its unique identity and also feature of fantasy novels representing Anglophone countries, which secures worldwide readership through OSMU. For instance, it seems three epics known as top fantasy novels in world, The Lord of the Rings, The Chronicles of Narnia, Earthsea series are partly related with Conan the Barbarian. The analysis’ summary of 『Conan the Barbarian』 identified, first, mythical images and archetypal imaginations were entangled on universal historical and geographical informations. And considering on those features, similarity and difference and clearly shown from other fantasy novels. Second, formal features which maximizes fantasy through segmental episodes and visible description, paratactical plot was able to be grasped. This created second world having inner reality, and antirational fantasy inverting tradition was built. This seems as direct reason of distinguishing today’s fantasy novels as genre is needed. Third, the structure constantly maintained with chaos and conflict in lasting space and time of fantasy was identified. Global fantasy novels aiming open ending seems to share those features. The part to maintain the interest hereafter, is that fantasy novels have leeway to bruit uncomfortable ideology and make relevant issue grow to habit. In case of Conan the Barbarian double perversion about distorted phallocentric thinking and white male mythology was confirmed. This study would be able to estimate meaning as a work examined origin of global contents known as ‘fantasies’ and reflect its aesthetic feature and ideology. Issues on literary creating strange ‘another world’ that can make reality problems resonate in new angle will remain for future work.