시작 노트_이석구

이석구 고요아침 2013 시조시학 Vol.48 No.-

<워크어바웃>에 나타난 서구 문명 비판의 문제

이석구 문학과영상학회 2011 문학과영상 Vol.12 No.2

Nicolas Roeg has won recognition for his liberal politics. He interrogates the complacent Western civilization and probes into its precariousness in most of his films ranging from The Man Who Fell to Earth, to Bad Timing. Walkabout pursues the same inquiry in the setting of Australian outback. Employing his signature cinematography of cryptic mosaic-like montage, Roeg compares certain images of the Western civilization with those of the Australian outback and highlights the former’s artificiality and hypocrisy against the backdrop of the latter’s innocence and beauty. This study investigates the representational problems entailed by Roeg’s cinematic reversal of the hierarchical binarism that informs the Western conceptualization of civilization and nature. One of the problems that this study locates in Walkabout is that the aborigines, denied their culture as old as the Western civilization, are dehistoricized and represented as part of nature. In the same light, the aboriginal boy, played by David Gulpilil, can only act out the centuries-old image of “a noble savage” in this movie. Miraculously emerging from the bush, he nobly abandons his own walkabout and guides the lost whites through their walkabout with his almost animal-like survival instincts and skills. The lopsided positionality of these characters, that is, the relationship between a white person in need and her loyal black servant, is worth noting since it coincides with the stereotype of the aborigines perpetuated since the beginning of the Australian movie industry. Although Roeg’s intention was to expose the concealed barbarity and hypocrisy within the Western civilization, its execution, this study maintains, ended up recycling the racial stereotypes, a Western invention which has in turn aided the West in inventing its own complacent self-images.

분쟁서사 <뮌헨>에 나타난 인종적 재현 연구

이석구 문학과영상학회 2013 문학과영상 Vol.14 No.3

Even before its release, Munich caused hot controversies among the movie critics, who were polarized into two camps: one criticized the movie for its alleged attitude of ‘moral equivalence’ towards the Palestinian terrorists and the Israeli counter-terrorists while the other praised it for its unbiased treatment of the two antagonistic groups. This paper assesses the current criticism on this movie by examining the racial representations of the two ethnic groups. It also analyzes the various methods by which the director tries to ‘re-humanize’ the often-demonized two parties. Although the humanity of Palestinian terrorists as well as that of the Israelis is emphasized in this movie, the emphasis itself is very much lopsided. The movie ends up successfully constructing the image of a nonconformist, diasporic Jew, which, this paper argues, not only constitutes its forte but also its limitation. This cinematic maneuver can be regarded as a great achievement in that it articulates a dissident voice within the supposedly homogeneous political entity of the Israeli Jews. At the same time, it runs the risk of undermining, or even foreclosing, possible critiques of the state terrorism of Israel by emphasizing a ‘reformed’ conscientious Jewish subject. What makes the matter worse is that the political insights into the history of the territorial issue, as soon as they surface, are drowned due to the shift of the cinematic focus from the politics of (counter-) terrorism to the psychological and moral dimensions typical of morality plays.

영화 <GO>에 나타난 자이니치 재현의 양가성

이석구 문학과영상학회 2021 문학과영상 Vol.22 No.1

This paper is premised on the idea that ambivalence informs the representation of the Zainichi in Yukisada Isao’s GO. This ambivalence, this paper argues, derives from the dilemma of the new Zainichi generations that they can neither reject nor uncritically accept the discriminating mainstream society of Japan. After analyzing the operation of ambivalence in several critical scenes, this paper discusses the issue of fairness in the representations of both the Zainichi and the Japanese in this movie. It points out that while the criticism of Japanese society in this movie is heavily coded in allegory and metaphor and is thus backgrounded, the film tends to reproduce Japanese Orientalist views on the Zainichi. The conclusion of this paper is that despite its artistic representation of the daily lives of the new Zainichi generations, GO is only half successful in tackling their dilemma because it tries to solve politically charged issues in an individualist language and perspective.

자장커의 <세계>에 나타난 복제 현실의 재고

이석구 문학과영상학회 2022 문학과영상 Vol.23 No.1

This article starts with examining the previous studies that insist on seeing a critique of postmodern “simulation” in Jia Zhangke’s The World. It intends specifically to investigate how much the theory of simulation propounded by Jean Baudrillard in diagnosing the emerging postmodern media world can account for the problems of post-socialist Chinese society captured in Jia’s cinema. The main argument of this paper is that the significance of the World Park in Jia’s movie reaches further than a simple mirroring or replicating of the forgeries and inauthentic human experiences rampant outside of the theme park. It brings into focus the role of the theme park as an ideological state apparatus designed to interpellate a specific class of Chinese society into a loyal, obedient social group. This paper also brings to the fore the issue of social mobility and prosperity which the rapid modernization of neoliberal China promised to its people but of which only certain classes turned out to be the beneficiaries. The conclusion of this paper is that The World takes issue with the modern ills of neoliberal China, not its postmodern problems, and also that it narrativizes the virtual incarceration of the deprived migrant workers through mobilizing a variety of tropes and subtle camerawork.

Picea jezoensis , 5 개류 Polymorphic isozymes 의 유전분석

이석구,정헌관 한국임학회 1984 한국산림과학회지 Vol.65 No.1

우리나라 固有樹種인 Picea jezoensis 天然林集團의 遺傳硏究를 위하여 發芽段階의 megafametophytes(N)를 Starch gel Zone-electrophoresis 方法에 依한 Phosphoglucomutase(PGM), Shikimate dehydrog-enase(SDH), Malic enzyme(ME), Glutamate-oxa-loacetate transaminase(GOT), Isocitric dehydrog-enase(IDH), isozyme의 遺傳樣式과 遺傳子座間의 連關關係를 究明하였다. PGM은 2個의 Zone(PGM-A, PGM-B)이 분리되며 移動이 빠른 PGM-A에서는 變異가 發見되지 않았고, PGM-B Zone에서 B₁, B₂ band가 1:1로 분리되어 對立遺傳子로 確認되었고, SDH, ME는 1個의 Zone에서 各各 2個式의 對立遺傳子를 確認하였다. GOT와 IDH는 各各 2個의 Zone(GOT-A, GOT-B와 IDH-A, IDH-B)으로 區分되며 GOT-A Zone은 變異가 없는 2個의 band로 나타나며 나머지 3個 Zone에서는 2個式의 band가 各各 1:1로 분리되어 對立遺傳子임을 밝혀졌다. 連關關係를 調査한 바, IDH-A와 IDH-B, PGM-B와 GOT-B 및 SDH-A와 ME-A 遺傳子座間에 比較的 弱하게 連關되어 있으며 平均 Recombination 比率은 各各 26%, 29%, 31%로 나타났다. 이상과 같은 結果는 가문비나무 天然林集團의 遺傳硏究를 通한 遺傳子 保存林 確保에 重要한 基礎資料가 될 것이다.

지역보건재정체계 개선방향

이석구 한국보건사회연구원 2000 보건복지포럼 Vol.47 No.-

<오스트레일리아>에 나타난 ‘인정’의 정치학: 원주민 재현과 다문화주의

이석구 문학과영상학회 2009 문학과영상 Vol.10 No.3

According to Richard Leonard, Australia is different from conventional movies with a happily-ever-after ending in the sense that Nullah goes back to his tribal roots and ways. The aforementioned movie critic goes on to maintain that this movie “articulates one side of a lively debate about how Australian indigenous people might reclaim their own heritage and dignity.” This laudatory movie review is more or less in line with the stated intention of the director of the movie, Baz Luhrmann when the latter called his movie “a journey to find out about my own country [. . .], the history of it, the Indigenous history of it.” Both the review and the director himself seem to understand the movie in the light of multiculturalism. The place where Nullah goes back to, this paper argues, is after all a mythologized nature away from both the white society and the aboriginal reserves. This demarcation of a sort of de-secularized and fantasized place as a territory for Nullah and King George is not intended to return dignity to the culture, nor to the aborigines, but to divert attention from the real issues of justice, rights, and ownership of the land. In the same light, the movie’s portrayal of the Faraway Downs as an ideal home/farm for the servant class of color, such as Bandy and Sing Song, despite its interracial harmony, is far from a democratic community. The racial Other is employed in this movie in order to provide the much-needed service to Lady Ashley and her supervision of her late husband’s cattle farm. By casting the farm owner as a caring benevolent one and, above all, by allowing the half-caste boy to return to his aboriginal grandparent, the movie seems to redress the past crimes perpetrated upon the so-called “Stolen Generations.” Yet, this paper argues that this imaginary redressing of, or compensation for, the past racial crimes actually serves to exorcise the white Australia’s guilt and, what is worse, tends to work as a substitute for the yet-to-be-made real compensations. The conclusion of this paper is that the multiculturalism of the movie makes, at best, the so-called “Benetton effect” and, at worst, a cosmetic cover-up for the white Australia’s ugly face of ethnic cleansing.

상수도 정책방향과 제도 개선

이석구,Lee, Seok-Gu 한국상하수도협회 1992 水道 Vol.57 No.-

미숙아와 만삭아에서의 비후성 유문 협착증의 임상적 차이

이석구,김성환,이우용,김현학,Lee, Suk-Koo,Kim, Seong-Hwan,Lee, Woo-Yong,Kim, Hyun-Hahk 대한소아외과학회 1998 소아외과 Vol.4 No.1

Infantile hypertrophic pyloric stenosis(IHPS) is common in full-term babies, and relatively rare in prematures. The diagnosis of IHPS in premature infants may be obscured because of the lack of classic symptoms and signs and the absence of the standard criteria for ultrasonic diagnosis. The purpose of this study is to discover the clinical differences between premature and full-term infants with pyloric stenosis, and determine the appropriate diagnostic methods for early diagnosis in premature infants. The clinical records of 52 IHPS patients who had been operated upon from October, 1994 to April, 1997 were reviewed. The incidence of IHPS in premature infants was 25 %. The onset of symptom was 4.7 weeks of age in premature, and 2.9 weeks in full-term babies. Diagnosis was established by typical symptoms. signs. and diagnostic imaging studies. In two premature infants, diagnosis was confirmed by upper gastrointestinal(GI) series, because ultrasonography did not meet the diagnostic criteria. Two premature infants initially diagnosed as gastroesophageal reflux by esophagography. were found to have IHPS by upper GI series. For the diagnosis of IHPS, a new set of criteria for premature babies has to be developed.