문턱세대의 역사의식 : 봉준호의 세편의 영화

문재철 영상예술학회 2008 영상예술연구 Vol.12 No.-

오늘날 한국을 대표하는 봉준호 감독의 영화는 90년대 중반이후 변화한 한국영화 의 새로운 경향 속에 있다. 이러한 경향의 가장 큰 특징은 탈정치적이며 탈역사적이 라는 것이다. 하지만 그는 여전히 역사적인 것에 대한 사유의 끈을 놓치지 않고 있다. 봉준호의 이와 같은 역사적 태도를 이해하기 위해서는 세대론적으로 접근할 필요 가 있는데 그는 이른바 386세대로서 일종의 문턱세대에 해당된다 하겠다. 80년대 격 렬한 정치적 저항의 경험과 90년대 중후반 탈정치적인 흐름의 사이에 존재하는 이들 세대는 역사에 대해 상대적으로 자유롭지만 그러나 동시에 역사에 대한 고민을 완전 히 떨쳐버리지는 않았다. 봉준호는 이와 같은 문턱세대의 역사의식을 바탕에 깔고 있 으며 이를 통해 특히 80년대 집단적 무의식을 다루고 있다. 그는 이와 같은 역사고찰에 있어 전통적인 리얼리즘보다 알레고리에 의존한다. 이 와 같은 알레고리는 탈-정치, 탈역사의 시기에 역사를 다루는 유력한 방법이 될 수 있 다. 알레고리적 방법과 관련해 주목할 것은 이들 영화에 나타는 특정한 대상들이다. <플란다스의 개>의 개, <살인의 추억>의 보이지 않는 살인범, <괴물>에서 괴생물체 들이 그것으로 이 애상들은 최근 한국역사의 맹목성과 욕망을 반추하게 한다. 이들 영화에서 드러나는 역사에 대한 태도는 불안과 웃음이다. 80년대를 규정했던 역사철학이 소진된 그 공백에서 우리가 마주한 것은 역사의 가치에 대한 회의와 불안 이다. 역사의 불안을 마주하여 주체는 그에 대해 거리를 두게 되는데 과거의 경우 그 거리가 역사의 숭고함을 말해주는 것이었다면 이제 오히려 그 거리는 역사의 불가해 에 대해 웃음을 유발하고 있다. 이러한 분석에서 확인되는 것은 오늘날 역사의 위치 이다. 봉준호 영화는 최근 한국의 역사를 알레고리적으로 반추함과 동시에 오늘날 역 사에 대한 주체의 태도를 보여주고 있다. The films by Bong, Joonho, a representative director in Korea these days, are in the middle of a new tendency for Korean cinema, which has been changed since the middle1990’s. The biggest feature of this tendency can be mentionedasde-politicization and post-history. Director Bong, however, has not missed at hread for the his torical. In order to understand his historical attitude, it is necessary to approach the generation theory; it might be said that he belongs to the one called a between generation or a threshold generation right after Korean 386 generation (in their 30’s at that time this term appeared in the 1990’s, attending colleges in 1980’s, and born in 1960’s). This generation between the experience of strong political resistance in the 1980’s and the de-politicizing trends are relatively liberal towards history, but it has not entirely freed from their agony on history. Bong Joonho has a basis of historical consciousness of the threshold generation, through which he deals with collective unconsciousness of the 1980’s. He counts on allegory rather than traditional realism as for his historical inquiry. Likewise, allegory could become the most effective approach to deal with history in de-politicizing and post-historical period of our time. What to be noted regarding allegorical approaches are particular objects in his films. The objects including the dogs in Barking Dogs Never Bites, the invisible murdererin Memories of Murder, and a monster in the Host leadustoruminate over blindness and desire in recent Korean history. The attitude towards history in these films is anxiety and laugh. What we confront in blank space where historical philosophy which prescribed the 1980s has been exhausted is skepticism and anxiety on the value of history. Facing the anxiety of history, the subject keeps it at a distance. In the past, the distance would tell a sublime of history, while now it brings about laughs about incomprehensibility of history. What can be confirmed from this analysis is the position of history these days. The films of Bong Joonho ruminate upon recent Korean history allegorically, and at the same time show the attitude of subjects about history these days.

Recounting "History" : Documentary as Women's Cinema

NAM, Soo-Young Asian Center Women's Studies Korean Women's Instit 2001 Asian Journal of Women's Studies(AJWS) Vol.7 No.1

In this paper, I examine the interview materials in Dai-Sil Kim-Gibson's Silence Broken and Trinh Minh-Ha's Surname Viet Given Name Nam, in order to see whether they can give us immediate access to women's histories without denouncing the quest for objectivity in documentary representation. It is also for this, reason that we need to reflect on whether it is possible to avoid trivializing the individuality of oral histories by the overarching rhetoric of documentary. Before we hail the so-called truthful representation of women's voices in documentary, I propose that we need to analyze documentary as an independent genre with both reflexivity and interactivity. Then, functions and limits of orality in film that have been considered as anchored in and, therefore, subjugated to the visual text, need to be reexamined, as well. In short, I will show that the documentary transcriptions of women's testimony lead us to move beyond the "received truth" of official history. By examining women's voices as central forces of historicization-rather than as mere informants-I will argue it is only when we release ourselves from the logic of unity and synchronicity that we understand the individual's subjectivity presented at the moment of interview.

국가가 쓰는 영화 역사─1970년대 영화진흥공사 기관지 『영화』의 한국영화사 기술에 대한 소고

심혜경 한국극예술학회 2019 한국극예술연구 Vol.0 No.63

The cultural policy of the 1970s was established to refine and elevate state-led nationalist discourses. Yeonghwa(The Monthly Cinema) is an institutional magazine issued from July in 1973 immediately after the foundation of Yeonghwajinheunggongsa(the Motion Picture Promotion Corporation; MPPC). This magazine succeeded Korea Cinema, which had been published by Hanguk Yeonghwajinheungjohap(the Korean Motion Picture Promotion Association), the semi-governmental institution. Korea Cinema was considered "educational publication for filmmakers" and it was created by the personnel representing the film industry and it dealt with urgent issues related to the Korean film industry as some ideological censorship. Yeonghwa, which was published after Korea Cinema, was more of its status as a high-quality magazine specialized in film for “filmmakers”, in terms of the differentiated quality as compared with other film magazines of the time. It played a faithful role as "a friend" of cine people and "a guide for film restoration," clearly differentiated from other magazines of the time focused on gossipy issues. On the other hand, the principle of Yeonghwa represents the government direction, in the sense that the film policy announced by the Ministry of Culture Promotion in 1973 was oriented to pursue "realization of ideology of Yushin and protection of nationalism" and the establishment objective of the MPPC pursuant to the fourth amendment of Film Act consisted in "principle of promotion prioritizing the national film." Therefore, Yeonghwa is a text demonstrating the close correlation between art policy directly controlled by the national and governmental journalism. While this magazine has some similarity with private film magazines of the time, it not only promotes film policies of the State and explains diverse support measures, but also meticulously indicates themes and contents of do's and don'ts of the Korean films under the regime of Yushin. What is most interesting about this magazine as an institutional magazine specialized in film is that it constantly publishes records of the Korean film history of the early stage as well as reflections of the old representative cine by devoting lots of space in the magazine. What makes Yeonghwa reflect on the Korean film history of the past and describe it again today? This article will analyze an art-oriented institutional magazine showing peculiar journalism and history-writing, while inquiring into which film, filmmakers and film historical events appear or are removed as a canon. 『영화』는 영화법 4차 개정으로 1973년 4월 영화진흥공사가 설치되면서 발행을 시작해 1994년 11월호(통권 157호)로 휴간한 기관지이다. 이 잡지는, 영화계의 숙폐를 청산하기 위해 한국영화진흥조합이 해체되고 영화법이 개정되어 영화진흥공사가 설치되면서, 1972년 3월부터 조합이 발행해왔던 『코리아 시네마』를 승계한 것이었다. 『영화』는 기관지였음에도 1970년대 내내 당대 최고의 영화전문지로서의 위치를 지켰다. 영화법 4차 개정과 영화진흥공사의 설립목적이 ‘국산영화 우선의 진흥 원칙’에 있는 만큼, 『영화』의 기조 역시 이를 대변한다. 『영화』는 국가가 노골적으로 관할하는 극예술과 관변 저널리즘과의 유착 관계를 잘 볼 수 있다. 기존의 민간영화잡지의 성격을 갖으면서도, 국가의 영화정책을 홍보하고 각종 지원책을 설명할 뿐 아니라, 유신체제 하에서 한국영화가 담아내야할 주제와 내용까지도 꼼꼼하게 소개하고 있었다. 그중 영화전문 기관지로서 가장 흥미로운 점은, 『영화』가 많은 지면을 할애해 한국영화 역사의 기록과 원로영화인들의 회고를 싣고 있다는 점이다. 이 시기 왜 『영화』는 저간의 한국영화사를 회고하며, 다시금 기술하는 것일까? 어떤 영화가, 어떤 영화인이, 어떤 영화사적 사건이 정전으로 등장/배제되는가를 살펴보면서, 예술과 기관지라는 매체가 가지는 저널리즘에 대해 분석한다.

1960년대 쿠바영화에서의 혁명수용 형태 연구

정태수(Jeong Tae-soo) 한국영화학회 2014 영화연구 Vol.0 No.59

The most important thing facing Cuba after the 1959 revolution was to establish, based on the process of the revolution, Cuba as an independent nation, which was more significant than anything else for Cuba, a nation dominated by Spain and the United States for a long time. For this, the revolutionary government of Cuba aimed to imprint its identity and reality on its peoples by bring them to a recollection of its revolution and its colonial history. The vehicle that was to carry out the aims of the revolutionary government was cinema. Cinema became what was to realize the political aims of the revolutionary government. The filmmaking of the 1950s in Cuba already proved this role of cinema. In this regard, the Cuban cinema of the 1960s was deeply related to what the revolution government aimed and was situated. During this period, Cuban films focused on showing Cuba’s struggles for the revolution and its colonial experiences. It is not overwhelming that after the revolution what Cuban cinema dealt with was absolutely related to the establishment of Cuba’s history as an independent nation.

Imagined Geographies of the Public in China : The Transformation of Mao’s Image

Lee Seunghee(李?喜) 한국중어중문학회 2017 한국중어중문학회 우수논문집 Vol.- No.-

이 논문에서는 건국 초기· 문화대혁명 시기· 개혁개방 이후로 연대를 분절하여, 시대별 가치판단 기준에 따라 마오쩌둥의 이미지가 변화해온 과정을 고찰함으로써 중국 대중의 심상지리를 포착하고자 한다. 중국 현대사에서 ‘마오쩌둥’은 사회주의를 대변하는 문화-정치적 기호이다. 주지하다시피 ‘재현’은 실체를 그대로 복제하는 것이 아니다. 재현은 문화적 코드에 따라 새롭게 구성되는 정치적 행위이다. 마오의 이미지도 예외는 아니다. 마오 이미지는 일개인의 차원에 축소될 수 없다. 중국 문화현실의 장에 등장하는 마오 이미지는 중국 사회주의 이데올로기의 동향 및 그에 대한 중국 대중의 심리가 응축된 거대 기호로 간주되어야 한다. 필자는 마오 이미지의 제작 및 유통 과정을 추적하기 위해 건국 초기 영화잡지인 『대중전영(大衆電影)』에 게재된 뉴스영화 컷, 문혁 시기 선전포스터, 개혁개방 이후 ‘정치-팝’ 계열의 회화작품을 연구대상으로 삼는다. 시기마다 매체를 달리한 것은, 마오의 이미지가 변화함에 있어 분기별 특징을 드러내는데, 이때 각기 매체의 성격이 그 특징을 더 선명하게 집약해주기 때문이다. 이 논문은 다음과 같은 문제들에 천착한다. 건국 초기, 문화정치권력은 마오와 대중의 관계를 축으로 어떠한 플롯의 중국 현대사를 기술했는가? 문혁 시기 개인숭배의 기조 위에서 마오는 왜 굳이 ‘일상’의 기호를 취했으며, 이로써 어떠한 이미지의 지도자상을 창출해냈는가? 개혁개방 이후 마오를 소재로 한 팝아트 계열의 회화작품과 각종 일상용품의 소비는 중국의 사회주의 이데올로기와 시장경제 체제의 조우를 어떻게 반영하고 있는가? The purpose of this study is to investigate the effects of images on the public in China of Mao’s image transformation based on the periodic value system of each age. The targets are the film magazine “Popular Cinema” at the early stage of modern China, propaganda posters during the Cultural Revolution, and “political pop” caricatures after the economic reform. First, this paper demonstrates how Chinese history is defined and reshaped in connection with the relationship between Mao and the masses. To this end, the first Chinese film magazine Popular Cinema was analyzed based on the visual technical strategies to position him as a hero at the time. Second, this study explicates how sublime and routine life overlaps by verifying the hero’s individualities currently receiving public favor. Specifically, this is based on Mao’s heroic image portrayed in propaganda posters during the Cultural Revolution. Third, I illuminate the skeptical sentiment of the public of China against the socialistic ideology during the post-cold war era, including the transformation of Chinese society, by categorizing it as a type of political pop, which c aricatures M ao’s p ortrait. As the socialist ideology in China has often adapted, Mao’s image has also been repeatedly modified into a sanctity, daily, and caricature. As the foundation of political power, the image of a modern politician positively reflects the social structure. Therefore, this study finally examined the historical process of the masses in China by analyzing the image of Mao. The focus was on how the masses transformed from the public to consumers during the cold war and post-cold war periods.

한국영화의 자기반영 양상 연구: <어느 여배우의 고백>(1967)을 중심으로

함충범 한양대학교 현대영화연구소 2022 현대영화연구 Vol.18 No.1

Through this thesis, I have researched the aspects of self-reflection the Korean cinema focusing on <Confession of an Actress>(1967). The main contents of this paper are summarized as follows. First, the main characters in this film are mostly people working in the filmdom. By the way, most of the real actors who play the roles use their real names or stage names almost as they are in the film. In addition, there is a homogeneity in the history of filmdom activity between the casts and the actors in the film. Second, this film contains several ‘film in the film’ scenes in the narrative, and forms colorful screens through various expression techniques. Thus, the story of the film and the story of the film in the film have a connection, and the boundary between reality and fiction is blurred. Third, this film has the genre characteristics of the melodrama that was popular in South Korea in the 1960s. In addition, the film clearly reflects the contemporary film-making environment. Through this, <Confession of an Actress> is positioned as one of the most revealing the aspects of self-reflection in Korean cinema. 본 논문은 <어느 여배우의 고백>(1967)을 중심으로 한국영화의 자기반영 양상을 탐구한 연구의 결과물이다. 그 개괄적인 내용은 다음과 같이 크게 세 가지로 요약된다. 첫째, 이 작품은 극중 주요 인물들을 주로 영화 관계자로 설정한다. 그런데, 배역을 맡은 실제 배우들의 대다수가 영화 속에서도 자신의 실명이나 예명을 거의 그대로 사용할 뿐 아니라 양자 간의 영화계 활동 이력에도 동질적 궤도가 그려져 있었다는 점에서 특이성을 드러낸다. 둘째, 이 작품은 서사 전개 과정에서 여러 편의 ‘영화 속 영화’ 관련 장면들을 경유하며 다양한 표현 기법을 통해 다채로운 화면들을 구성한다. 그러면서 영화의 이야기와 영화 속 영화의 이야기가 유기적인 연결성을 지니는 동시에, 사실성과 허구성의 경계를 모호하게 함으로써 생소하지만 신선하기도 한 간접적 경험을 선사한다. 셋째, 이 작품은 1960년대 중후반 당시 유행하던 멜로드라마의 외형을 두른 채 여성 취향 신파 영화로서의 장르적 속성을 견지하면서도 동시기 영화 제작 환경을 여실히 담아낸다는 점에서도 특징을 보인다. 이를 통해 <어느 여배우의 고백>은 한국영화의 자기 반영 양상을 가장 잘 드러내는 작품 중 하나로 자리한다.

Undomesticated Visions: A History of South Korean Independent Women’s Films, 1974-2004

박노출 한국학중앙연구원 한국학중앙연구원 2009 Korea Journal Vol.49 No.4

Women’s and feminist film practices in South Korea are normally considered to have emerged in the mid-1990s, when class issues and nationalism no longer drew serious attention from the country’s dominant intellectual discourse. This view tends to imply that women’s filmmaking practices were virtually nonexistent before the 1990s. In opposition to the conventional view, this work shows that women’s filmmaking with feminist intent arose in the 1970s in South Korea, contemporaneous with Western cine-feminism. It also argues that South Korean women’s films have developed a unique narrative discourse in which patriarchal male-centrism sustaining class politics and nationalism is challenged and deconstructed. To illustrate these points, this study calls attention to the fact that women’s filmmaking has taken place in the noncommercial independent cinema sector since the 1970s in South Korea. By examining four independent women filmmakers.Han Ok-Hee, Kim Soyoung, Byeon Yeong-Ju, and Ryu Mi-Rye.and their films, it maintains that independent women’s films have made continuous efforts to subvert male-centered ideologies, seeking new positions for women. Women’s and feminist film practices in South Korea are normally considered to have emerged in the mid-1990s, when class issues and nationalism no longer drew serious attention from the country’s dominant intellectual discourse. This view tends to imply that women’s filmmaking practices were virtually nonexistent before the 1990s. In opposition to the conventional view, this work shows that women’s filmmaking with feminist intent arose in the 1970s in South Korea, contemporaneous with Western cine-feminism. It also argues that South Korean women’s films have developed a unique narrative discourse in which patriarchal male-centrism sustaining class politics and nationalism is challenged and deconstructed. To illustrate these points, this study calls attention to the fact that women’s filmmaking has taken place in the noncommercial independent cinema sector since the 1970s in South Korea. By examining four independent women filmmakers.Han Ok-Hee, Kim Soyoung, Byeon Yeong-Ju, and Ryu Mi-Rye.and their films, it maintains that independent women’s films have made continuous efforts to subvert male-centered ideologies, seeking new positions for women.

초창기 일본영화사에 대한 관점의 시대별 특징 고찰 -1950년대부터 2000년대까지의 일본영화사 관련 주요서적을 중심으로-

함충범 ( Chung Beom Ham ) 한양대학교 현대영화연구소 2008 현대영화연구 Vol.4 No.1

문혁시기 중국의 북한영화 수용과 신세기 전후 중국영화 속의 잔영

장동천 한국중국현대문학학회 2021 中國現代文學 Vol.- No.97

This paper explores the acceptance of North Korean films in China, especially the pessimistic aspect of the general public during the Cultural Revolution. At the time, the Chinese audience was so enthusiastic that the North Korean films also left afterimages of the Chinese Films about the Cultural Revolution which appeared around the New Century. What makes North Korean films so enthusiastically welcomed by Chinese audiences? Also, what is the significance of Chinese films dealing with North Korea's image of the Cultural Revolution in the post-modern era? Starting with these questions, this paper first examines the acceptance of North Korean films during the Cultural Revolution, and then traces the context and meaning of its appearance in a series of Cultural Revolution films released in China around the New Century. The films about the Cultural Revolution before and after the New Century, which will be covered by this paper, are works that reproduce the life history of the Cultural Revolution period in the way of Nostalgia and Kitsch under the influence of postmodernism. The exploratory gaze on the daily lives of these films, which are different from the existing meta-narrative, has given a new role to the image of North Korean films.

일본영화 시나리오 표절 문제와 한국영화계― 1950년대 후반부터 1960년대 중반 국면을 중심으로

정종화 성균관대학교 대동문화연구원 2024 大東文化硏究 Vol.126 No.-

이 논문은 1950년대 후반부터 본격적으로 드러난 한국영화의 일본영화 시나리오 표절 문제가 1960년대 중반까지 사회적 논란과 더불어 영화계에서 성행했음을 당시의 언론 기사를 중심으로 검토했다. 또한 시나리오 표절이 만연한 정치사회적 맥락과 산업적 배경뿐만 아니라 이에 대한 당국과 영화인들의 대응 과정까지 입체적으로 살펴, 시나리오의 표절과 영화화 번안이라는 방식이 당시 한국영화가 양산을 감당하고 특히 청춘영화 장르를 개발하는 일정한 기반이 되었음을 밝혔다. 표절 논란의 중심에 있던 청춘영화는 모방과 번안 사이에서 제작되어 장르적 가치를 발휘하며 산업의 동력을 만들었다. 무엇보다 이 논문은 당시 한국영화가 표절 혹은 번안한 대상인 일본영화의 실체를 특정해 후속 비교영화사 연구의 기반을 만들었다. This article examines the prevalent issue of South Korean films plagiarizing Japanese screenplays from the late 1950s, which continued to be a social controversy in the film industry until the mid-1960s. By analyzing contemporary press articles, it delves into the societal debates surrounding the plagiarism problem during that time. Additionally, the article provides a comprehensive examination of the multifaceted political and industrial contexts in which screenplay plagiarism occurred. It explores the responses from authorities and filmmakers, revealing the intricate process of how screenplay plagiarism and adaptation into films played a crucial role in the mass production and development of Korean films, particularly in the youth film genre. The youth films at the center of the plagiarism controversy was created between imitation and adaptation, demonstrating its genre value and driving the industry. Above all, this article sheds light on the original Japanese films that served as source material for Korean films at that time, formulating a comparative research method for subsequent film history studies.