사이공간과 반영웅들의 재현 정치 ―2019 뮤지컬-오페라의 독립운동

전우형(CHON Woohyung) 역사비평사 2020 역사비평 Vol.- No.130

This paper attempted to identify one aspect of the rift in the political politics of commemoration performed by musicals and operas in 2019. And the tentative goal of the writing is to identify the dynamics of this fissure carrying out some sort of representational politics of remembering and commemorating history. The musicals, The Eyes at Dawn and Opera 1945, were the media of commemoration. They boldly escaped the content and form of musical and operas of the past, reinventing the location of the subject who gave reflection to the commemoration itself. The Eyes at Dawn and 1945 do not deal directly with the historical events of the independence movement and liberation and the people and scenes involved in the dramatic style of the memorial. he archiving of the independence movement and the history and culture outside of the independence movement by the two works through the in between space and antiheros is related to the will to create a close dialogue space between it and the present. The Eyes at Dawn and 1945 reinforce the meaning of the memorial to presentize history. The two works did not remain in the realm of commemoration because they did not fully reflect the problems of history raised in Korean society. At least the musical The Eyes at Dawn and Opera 1945 are commemorations of those who have not returned, come back, uncovered, revealed, remembered or recorded, and never been celebrated. The politics of representation is performed in that it is a memorial that has never been done before.

특집논문 : 1970년대 『창작과비평』의 이론과 실천 ; 번역의 매체, 이론의 유포 -A. 하우저 『문학과 예술의 사회사』 번역과 차이의 담론화

전우형 ( Woo Hyung Chon ) 한국문학연구학회 2015 현대문학의 연구 Vol.0 No.56

이 논문은 『창작과비평』이 자신의 매체성을 드러내는 전략으로서, 그리고 그들이 생산한 다양한 문학담론의 이론적 토대로서 A. 하우저의 『문학과 예술의 사회사』 번역의 개입 양상과 그 효과를 규명하고자 한다. 이러한 접근은 『창작과비평』의 번역이 단순히 서구지향이나 서구취향이라는 엘리티즘의 연속선상에서, 또는 외국문학 연구자의 인정투쟁과 상징권력 정도로 인식할 때 결코 드러날 수 없는 것들, 예를 들어 번역행위와 전통과 실학, 민중문학에 대한 발견과의 관계 등을 전달하는 글쓰기 행위로서의 위상을 가늠할 수 있다. A. 하우저의 『문학과 예술의 사회사』 번역은 사회과학적 비명이라는 마르크시즘 문예이론의 수용 및 유포 너머 한국의 정치경제 현실에 대한 탐색을 통해 주체적 문학담론의 생산을 매개하는 하나의 실험이었다. 『창작과비평』의 『문학과 예술의 사회사』 번역은 번역행위에 내재하는 아날로지의 극복을 통해 단순히 번역 대상으로서 서구를 동일시하거나 모방하는 차원이 아니라, 차이를 전제로 하는 자생적인 문학답론의 신생을 궁구하는 동력으로서 종국에는 엘리트와 민중, 전통과 현대, 제3세계문학, 그리고 제3세계문학과 세계문학의 주체적 연대 가능성을 여는 계기로서 의미가 있다. This paper investigates intervention and effects in Korean translation of A. Hauser``s The Social History of Art. This translation was a strategy to reveal Cha``angjak kwa Pip``yong(『창작과비평』)``s media characteristics, and theoretical foundation of diverse literary discourses they produced. These approach will reveal writing that transmits relation between translation, tradition, Shilhak(rea1ist school of Confucianism), and founding of the people literature, which was far more than just west orient or preference elitism nor struggle for recognition and symbolic power of foreign literature scholars. The translation of A. Hauser``s The Social History of Art was more than just acception and dissemination of Marxist literary theory. It was an experiment to produce subjective literary discourse mediated by researches of Korea``s political economic reality. Therefor, Cha``angjak kwa Pip``yong overcame analogy inherent in translation, not just identifying or imitating the direst, but investigated the birth of new native literary discourse which premised difference with the west. This ultimately lead to be a momentum of subjective solidarity between elites and people, tradition and present, the third world literature, the third literature and the world literature.

영화와 기차, 폐기된 계몽의 극장

전우형(Chon, Woo-Hyung) 서울시립대학교 서울학연구소 2020 서울학연구 Vol.- No.78

이 글은 조선영화에 재현된 기차가 서양의 근대문화와 문명, 그리고 제국 일본의 군국주의가 빚어내는 속도를 표상하고, 두 속도기계의 틈새에서 승차와 하차를 강요받는 식민지 조선인의 숙명을 드러내는 양상을 확인하고자 했다. 특히 이 글에서 주목한 것은 영화와 기차가 서양의 근대문화와 문명이 이식되는 계몽의 미디어이자, 제국 일본의 군국주의가 시작되는 선전의 미디어였다는 점이다. 이때 영화와 기차는 근대 초기 한국사회를 단일한 속도의 장으로 밀어 넣는 질주정이었다. 조선영화 <군용열차>와 <미몽>은 영화와 기차의 속도, 그리고 서양의 근대문화와 문명이 이식되는 계몽의 세계와 제국 일본의 군국주의와 선전의 틈새에 놓인 식민지 조선인의 숙명을 재현해 내고 있다. <군용열차>는 제목에서도 알 수 있거니와, 일본이 식민지 전체를 병참기지화하려는 군국주의의 속도를 전경화하고 있으며, 제국의 스파이 되기라는 서사를 통해 자신과 조선의 현실을 부정하는 것을 승차 자격으로 제시하고 있다. <미몽>은 자본주의적 욕망과 개인주의의 화신이 된 여인의 죽음을 통해 <군용열차>의 속도에 대한 정당성을 마련하고 있다. 이 영화는 ‘가만히 있으라’는 주문을 통해 속도의 제어권이 부재하는 식민지 접경의 일상을 환기하는 동시에, 도래할 동원의 속도를 내면화하고 있다. 이로써 영화와 기차는 이제 계몽의 폐기된 이미지로서 선전과 선동, 즉 프로파간다를 위한 질주정이 되고 만다. This paper shows how the train in the Korean film in colonial era represents the speed of modern culture, civilization of the West, and the militarism of Imperial Japan, and reveals the fate of colonized Koreans forced to get on and off in the gap between two speed machines. Especially noteworthy in this paper is that films and trains were the media of enlightenment in which Western modern culture and civilization were transplanted, and the media of propaganda in which militarism of imperial Japan began. At this time, films and trains were the dromologie to push Korean society into a single place of speed. The films Military Train(1938) and Sweet Dream(1936) represents the fate of the colonial Koreans in the gap between the speed of film and train, the world of enlightenment where Western modern culture and civilization are transplanted, and the militarism and propaganda of Imperial Japan. Military Train, as can be seen in the title, are foregrounding the pace of militarism in which Japan attempts to log the entire colony. The Sweet Dream is a place for the speed of the military train through the death of a woman who became an incarnation of capitalist desires and individualism. The film reminds us of the daily life of the colonial border where there is no control over the speed through the order of ‘Still stay’, while internalizing the speed of mobilization. As a result, film and trains are now a discarded image of enlightenment and become a dromologie for propaganda.

소설 「무진기행」과 영화 <안개> 사이의 순환-선형적 리듬과 의사-유령적 자아

전우형(Chon, Woo Hyung) 동악어문학회 2014 동악어문학 Vol.63 No.-

영화 <안개>는 플래시백과 내레이션, 그리고 주제가 ‘안개’의 멜로디가 수없이 반복됨으로써 구성된다. 이 반복과 그에 내재하는 차이는 소설 「무진기행」에는 없는 것이면서, 그렇다고 영화 고유의 속성으로부터만 비롯된 것이라 하기에는 또 소설을 너무 닮아있다. 그동안 소설 「무진기행」의 영화 <안개>로의 각색 과정에서 소설 대부분의 문장들이 영화에 기입되고, 등장인물들의 성격이나 핵심 사건, 그리고 시공간적 흐름의 동일성에 주목하는 논의들이 대부분이었다면 이 차이의 양상과 그 의미를 규명하는 일은 선행 연구를 보완하거나 관점의 전환을 견인한다. 왜냐하면 영화에서 차이를 통한 반복은 다양한 리듬들이 간섭하는 하나의 거대한 리듬을 만들어내고, 이 리듬은 원작으로부터 도약하며 신생하기 때문이다. 게다가 이 리듬, 영화의 시청각적 이미지들이 만들어내는 영화적 언어는 소설의 문장들이 빚어내는 문체 효과의 등가적 대상처럼 보이기 때문이다. 소설은 문장의 구성이나 배열에 의해 씐다면, 영화는 시청각적 이미지에 대한 통제에 의해 연출된다. 소설의 문장들이 문체 효과를 발생시킨다면, 시청각적 이미지들은 영화의 리듬을 생성한다. 그래서 이 연구는 소설 「무진기행」을 유일하게 하는 문체 효과, 즉 감수성 혁명의 영화적 전유 양상을 ‘리듬’이라는 개념을 통해 살피려는 방법론적 탐색이다. 영화 <안개>의 리듬은 무진의 자연적이고 순환적인 시간성이라는 소설 「무진기행」으로부터 빌려온 것이면서 여기에 서울의 기계적이고 선형적인 시간성, 그리고 무진에 내재하는 모방으로서의 선형적인 시간성 등이 빚어내는 다(多)리듬적인 것이다. 이 거대한 리듬의 세계로부터 주인공 윤기준은 철저히 소외되어 있다. 영화는 서울의 도시적 일상으로부터 추출당하는 설정을 통해 윤기준을 불안한 주체로서 문제적 개인화하기 시작한다. 그리고 이 문제적 개인화는 무진으로 가는 여정에서, 그리고 무진에 도착하면서 한층 더 강화된다. 그는 무진에 도착하자마자 안개로 대표되는 자연적인 상태에 압도당함과 동시에 무진에 내재하는 모방된 도시적 일상과도 역시 불안한 관계를 맺고 만다. 이는 결국 소설 「무진기행」에서 주어가 수동적인 위치로 물러앉거나 대상과의 관계 불균형을 드러내는 문장들이 빚어내는 문체 효과의 영화적 표상 장치이다. 무진으로 여행하는 윤기준은 결국 자기 성찰적이라거나 비판적 응시의 주체가 아니라 과거의 억압과 미완이 현재가 엉겨 붙어 현재를 떠도는 유령(specter)적 존재에 다름 아니다. 그러나 그의 유령됨은 삶과 죽음의 경계에서 삶에 성찰과 가르침을 실어오는 것이 아니다. 그렇기 때문에 그는 하인숙을 서울로 데려가겠다는 약속이나 급히 떠나게 되어 미안하다는 사과 등, 어떤 수행적 언어도 불가능한 의사-유령(pseudo-specter)에 지나지 않는다. Film a Fog(1967) is formed by countless repeats of flashback, narration, and the melody theme song Fog. These repeats and differences within the repeats does not appear in the novel A trip to Mujin(1964), but it is very similar to novel that we can not assume it is originated by inherent characteristics of movie. Former studies focused on how the movie Fog has adapted the novel A trip to Mujin by how the sentences of the novel has been inscribed in the movie and examining similarities of character, main events, and flow of space-time. But this paper focuses on differences and its meanings, which supplements and transforms perspectives of former studies. In the movie the repeats with differences creates a huge rhythm which interfere with variety of rhythm, and this huge rhythm leaps and newborns from the original. Furthermore, this rhythm, audiovisual image of the movie that creates cinematic language seems to be equivalent to the stylistic effects created by novel’s sentences. Novel is written by configurations and arrangements of sentences, movie is directed by regulation of images. Novel"s sentences raise stylistic effects, audiovisual images generate rhythm of the movie. Therefore this study is a methodological investigation of appropriation of sensitivity revolution of A trip to Mujin, writing style that makes A trip to Mujin exclusive, in the movie by the term ‘rhythm’. Movie a Fog"s rhythm is formed by natural and circular temporality which is borrowed from A trip to Mujin, and it adds Seoul’s mechanical and linear temporality and linear temporality which is inherent imitation in Mujin, to form multi-rhythm. Main character Yun, gijun is thoroughly alienated from the world of this huge rhythm. Movie starts to make him problematic individual by setting him to be extracted from the urban everyday of Seoul. Then, the journey to Mujin, and arrival of Mujin, enhances the problematic individual. He is overwhelmed by a natural state as represented by the fog as soon as he arrives at Mujin, and at the same time he ties uneasy relationship with imitated urban everyday inherent in Mujin. It is a cinematic representation system of the effects of writing style of A trip to Mujin which makes the subject to retreated to the passive position, and sentences showing imbalance in the relationship with object. Yun, gijun traveling to Mujin, is not self-reflective nor has critical gaze, but suppression and unfinished of the past intertwined to form a specter to wander the present. And this specter does not delivers reflection and teaching from the boundary of life and death. Therefore he can not perform any performative language, such as to promise Ha, insuk to bring her to Seoul or apology for such urgent depart, so he is just a pseudo-specter.

미완의 80년대와 갱신되지 못한 90년대, 영화 〈아름다운 청년 전태일〉의 문화정치

전우형(Chon, Woo-Hyung) 한국사연구회 2020 한국사연구 Vol.- No.191

인문학의 한류를 위한 세계적 시야의 한국어문확 연구와 교육; 한국 현대문학 텍스트의 확장과 문화론적 연구 -2013년 AAS(Association for Asian Studies) 국제학술대회에서 한국 현대문학 연구의 성격-

전우형 ( Woo Hyung Chon ) 겨레어문학회 2013 겨레어문학 Vol.51 No.-

This study explores the trends of modern Korean literature studies in the context of international conferences. In such international wide conference as Association for Asian Studies (AAS), the researchers themselves decide the themes and organize the presentations. With the overall theme set by the organizers, however, the presenters are also offered the opportunities to present their own agendas. They are only classified as the Asian researchers without being exposed to wholesale exclusion and segregation. The seeming loose self-identification among the presenters that “we are Asian researchers” paradoxically opens up for the possibilities for solidarity and communication beyond exclusion and classification. The joint research as a prevalent mode of the international conference speaks to the precedent vibrant discussions among the co-researchers. Free from the exclusive environment and the classifying signifiers like “Korean,” “modern,” and “literature,” the international conferences provide academic venues for exploring the new aspect about modern Korean literature studies. This study discusses the movement and the direction of the studies on modern Korean literature in the international conferences through the specific presentations on modern Korean literature in the annual international conference held by AAS in 2013. By trying to defining the “movement” of modern Korean literature studies, this study will contribute to setting out the “direction” of the future studies.

자막의 세계, 북한 조선어 보기와 초국적 공동체에 관한 상상

전우형 ( Woohyung Chon ) 겨레어문학회 2022 겨레어문학 Vol.68 No.-

This paper seeks to explore the dynamics of inter-Korean relations created by interpretation and translation in South Korean films that recently represented North Korea. The history of interpretation and translation in films is also consistent with the history of films. Interpretation and translation are spoken and written words or writings, which are not only faithful to or incidental to the spoken word, but are borderline languages that interfere with or disturb the formality of the spoken or written form. In a film, subtitles and interpretation have the potential to become devices that represent the zone of intersection and contact that suggests various positions on the reality the film represents and imagines a different world. From this point of view, this article focuses on subtitles and interpretation in films as new contact zones for relationships. The films Mogadishu(2021) and Steel Rain 2: Summit(2019) represent the contact zone imagining North Korea as a state through subtitles and interpretation, respectively, while at the same time reproducing the relationship between the two Koreas, the North and the South, and the international community. propose a new position. In this way, subtitles and interpretation in the film present the desire for multilaterality and multiscalarity of the relationship by imagining an alternative public body by questioning the one-way relationship between the South and North Korea and the international community as well as North and South Korea.

이상 「지도의 암실」과 할리우드 뮤지컬 영화의 실험적 제휴

전우형 ( Woo Hyung Chon ) 겨레어문학회 2014 겨레어문학 Vol.52 No.-

Features that Yi Sang’s future narrative texts share, such as denial of reproduction through the interference of the reproduction system, are similar with reproduction technology of musical film of Hollywood which was popular when his narrative world was starting. Musical film of Hollywood began to fashion at the beginning of sound film. These musical film is constituted with at least two different time of narrative and performance, which constantly divide the main character during the two times. Colonial Korea of 1932, when this novel was published, was transit period to Hollywood musical sound film. Especially the musical film The Love Parade(1929)’s insertion in the novel makes us rediscover this text to be established as fundamental point for his narratives to open up to movies. A Darkroom of Map is a experimental writing, withheterogeneous multiple time and disruptive gaze constantly alienating fundamental ego. It is also a metaphor of non-reproducible of letter which nature is linear temporality. Plurality of time, division of ego, and skepticism about letter, these three elements are the evidence that this novel are affiliated with musical movie called The Love Parade. A Darkroom of Map obscures the boundary between the referents and represents theexperience of the moment of ego that was placed between the two worlds that have been cut off in space and time. These clearly mimics the format of the musical film. However, like Yi Sang’s novel writing was never concluded, these are only experimental stage to proceed to the texts mediated by musical film, for example avant-garde film of Europe.

한국 노동 다큐멘터리 영화의 역사적 기원 연구

전우형 ( Chon Woo-hyung ) 민족문학사학회·민족문학사연구소 2017 민족문학사연구 Vol.64 No.-

This study aims to investigate the historical identity of Korean labor documentary film. The origin of Korean labor documentary film was engaged with the restart of Korean independent film`s establishing better life and world by representing impossibility of representation which Korean society had been faced since the democratization revolution in 1987. The fiction film The Night before Strike(1990) and the news reel The Labor News(1989) represented labors almost at the same time. However The Labor News seems to achieve the task of representing continuous labor strike, government`s oppression. The 16mm video camera and Video Home System which The Labor News Production had exploited as media are proper for this. The Labor News exploited the language of the fiction film and news reel documentary as well, and established the new prospect of the Korean labor documentary film henceforth in Korea. By The Labor News`s favor Korean labor documentary film could be multiplied as popular and aesthetic culture.

일제강점기 조선 영화감독의 "전속(專屬)"제 연구

전우형 ( Chon Woo Hyung ) 한국문학연구학회 2009 현대문학의 연구 Vol.0 No.39