공포와 죄의식의 이중주: <장화, 홍련>, <거미숲>, <소름>을 중심으로

임유경 문학과영상학회 2010 문학과영상 Vol.11 No.3

This paper critically examines what the movies <A Tale of Two Sisters>, <Spider Forest>, and <Sorum> have in common, particularly in terms of how the male/female characters are represented. Furthermore this study also aims to investigate not only how the motherhood could be embodied but also what functions it performs and where the epicenter of horror is located. The paper also explores these movies’ coordinations within the category of Korean horror movies, from a broad perspective. These movies simultaneously attempt the aesthetic consideration of invisible horror. In other words, the movies raise the questions “Where is the ghost?” or “Where the horror comes from?” to the audience, and finally raise a question about a guilt. Actually, in these movies, the importance of ghosts as visible and physical entities was noticeably reduced; the ghosts do not even appear at the beginning. Rather, the ghosts in the three movies are psychological derivatives which reflect the desires of the observers, recognizers, and imaginers. What, then, does it mean by raising a question about a guilt? Diverse answers can be given for this question, but above all, while the question is dealt with in earnest, the form of choice, which the characters could select, have been changed. In other words, the protagonists face the problem, such as “being killed or going crazy” rather than “killing the other (the ghost) or being killed by it.” This is because the epicenter of horror is located inside the subject but not in the other characters or in any external object. Meanwhile, raising a question about a guilt collapses the formula “the location of horror is the body of subject, who is dead but still alive.” That is, the location of horror comes form “the ordinary-looking subject,” which raises the possibility of making everyday life more unstable. This paper critically examines what the movies <A Tale of Two Sisters>, <Spider Forest>, and <Sorum> have in common, particularly in terms of how the male/female characters are represented. Furthermore this study also aims to investigate not only how the motherhood could be embodied but also what functions it performs and where the epicenter of horror is located. The paper also explores these movies’ coordinations within the category of Korean horror movies, from a broad perspective. These movies simultaneously attempt the aesthetic consideration of invisible horror. In other words, the movies raise the questions “Where is the ghost?” or “Where the horror comes from?” to the audience, and finally raise a question about a guilt. Actually, in these movies, the importance of ghosts as visible and physical entities was noticeably reduced; the ghosts do not even appear at the beginning. Rather, the ghosts in the three movies are psychological derivatives which reflect the desires of the observers, recognizers, and imaginers. What, then, does it mean by raising a question about a guilt? Diverse answers can be given for this question, but above all, while the question is dealt with in earnest, the form of choice, which the characters could select, have been changed. In other words, the protagonists face the problem, such as “being killed or going crazy” rather than “killing the other (the ghost) or being killed by it.” This is because the epicenter of horror is located inside the subject but not in the other characters or in any external object. Meanwhile, raising a question about a guilt collapses the formula “the location of horror is the body of subject, who is dead but still alive.” That is, the location of horror comes form “the ordinary-looking subject,” which raises the possibility of making everyday life more unstable.

俠義公案小說中的傳統恐怖意象研究

왕남(王楠) 한국중국소설학회 2023 中國小說論叢 Vol.71 No.-

This paper investigates the traditional horror image in the novel of Chivalrous Public Cases, that is, a certain phenomenon, scene or thing created in the narrative process to create a scary situation. Horror images are grotesque, irrational, and can cause associations with negative phenomena such as destruction and death, which can bring readers a unique aesthetic experience of horror. The functional mechanism of horror image is not to directly display horror scene or describe some kind of horror existence, but to arouse human association through some concrete symbols. There are many strange people and strange things in the novel, and the content of the novel shows a strange and frightening atmosphere, which is the result of many scary images. The horror images in the novels of Chivalrous Public Cases can be broadly divided into folk beliefs, primitive customs and Jianghu tricks. Horror imagery is a mythical but not unfamiliar narrative tradition, which exists in Chinese traditional thinking, even if it is not something that can be seen everywhere in daily life.Horror image can be associated with death image. The fear of life is the root of the effect of terror image. The mechanism of terror image is to trigger the association of death-related image. The ideological connotation reflected in the novel reflects the social life at that time.Secondly, it reflects the traditional philosophical thought. The third is to reflect the accusation of society and the criticism of human nature.

아리 애스터 공포영화에 나타나는 죽음 서사

김유진,최승원 한국디지털영상학회 2024 디지털영상학술지 Vol.21 No.2

아리 애스터 감독은 미국의 시나리오작가이자 영화감독으로서 그의 첫 장편 공포영화 <유전(Herditary)>(2018)과 두 번째 장편 <미드소마(Midsommar)>(2019) 그리고 세 번째 장편 <보 이즈 어프레이드(Beau is Afraid)>(2023)를 선보였다. 다른 공포영화와 같이 세 영화는 주요 인물들의 죽음 서사를 포함하고 있는데 공통적으로 가족해체에 관한 서사를 동반하고 있다. 본 연구는 세 영화에 나타난 가족의 해체 서사와 병행되는 죽음 서사의 특징과 그 내용적 실체를 분석한다. 아리 애스터 감독은 이러한 죽음 서사를 통해서 현대 자본주의의 공포를 드러내고 있다. 각 영화에서 가족해체의 원인으로 작동하는 현대 자 본주의의 비관적인 요소들이 그 공포의 기폭제로서 <유전>에서는 피할 수 없는 가족의 내력과 어머니의 부담감을, <미드소마>에서는 동고의 부재를, 그리고 <보 이즈 어프레이드>는 실존적 불안과 감시 사회를 보여주고 있다 고 할 수 있다. 더 나아가 본 연구는 형식적으로 공포가 어떻게 표현되어 있는지 살펴본 다. 아리 애스터 감독은 시각적으로 인물들의 갇혀있음을 표현하였는데 이는 인물들이 프레임 내에서 갇혀있게 표현되거나 극의 서사를 여주는 상징적 인 이미지에 가둬지는 방식으로 나타나고 있다. 또한 형식적으로 세 영화는 미장아빔(mise-en-abyme)을 사용하여 특유의 공포를 표현하고 있는데 이는 상 위 시점의 존재를 관객으로 하여금 의식하게 하여 새로운 시간성과 공간성을 부여해 극이 전체성의 맥락을 갖게 한다. 따라서 본 연구는 세 작품의 공통 적인 서사 특징 분석을 통해 각 영화가 의미하는 공포의 실체와 그 표현 방 법을 파악하는 것을 목표로 한다. Director Ari Aster is an American screenwriter and film director who introduced his first feature-length horror film, Hereditary in 2018, followed by Midsommar in 2019, and Beau Is Afraid in 2023. Like other horror films, these three films include death narratives of the main characters and commonly accompany family disintegration narratives. This study analyzes the characteristics and substantive content of the death narratives parallel to the family disintegration narratives depicted in the three films. Director Ari Aster reveals the horror of modern capitalism through these death narratives. The pessimistic elements of modern capitalism that function as the cause of family disintegration in each film act as the catalyst for horror: in Hereditary, it is the unavoidable family heritage and the mother’s burden; in Midsommar, it is the absence of companionship; and in Beau Is Afraid, it is existential anxiety and a surveillance society. Furthermore, this study examines how horror is formally expressed. Firstly, Director Ari Aster visually expresses the entrapment of characters, which appears as characters being confined within the frame or trapped in symbolic images that depict the narrative of the drama. Additionally, it can be said that the three films create unique horror through the formal use of mise-en-abyme, which makes the audience aware of the existence of a higher perspective, endowing the drama with new temporality and spatiality, thereby giving the narrative a context of wholeness. In conclusion, this study aims to understand the essence of the horror signified by each film and its expression methods by analyzing the common narrative characteristics of the three works.

Study on fear-inducing factors in game - Focused on the compositions and camera angles

주가려,서갑열 한국디지털콘텐츠학회 2018 한국디지털콘텐츠학회논문지 Vol.19 No.2

This study mainly focused on horror movies and horror games. Camera angles of horror movies and compositions of horror games are main factors that can cause fear in people’s minds. Through analyzing four kinds of factors, including sensual, expectant, restrictive and executive fear elements, in horror games, and combining with the patterns of camera angles and film techniques that Alfred Hitchcock applied in his horror movies, this research investigated certain types of compositions and concluded ones that were more effective on growing fear in players’ minds and enhancing their involvement. In conclusion, only the combination of factors in horror-game compositions, like diagonal composition, dual-diagonal composition and inverse triangle-line composition, with visual elements enables player’s growing sense of fear and the increase in involvement. Therefore, future works should apply more of these fear-inducing compositions.

A Study on Spatial Representation in First-person Interactive Horror VR: Focusing on Welcome to Kowloon

Yumi Kim,Eunju Kim 중앙대학교 영상콘텐츠융합연구소 2024 TechArt :Journal of Arts and Imaging Science Vol.11 No.2

This study examined the spatial structure and lighting production characteristics that cause feelings of fear in the production of first-person horror VR content. Among the three archetypes of horror such as the object of threat, the sense of feeling horror, and the act of causing harm, color and spatial form were analyzed through Welcome to Kowloon as the visual characteristics to evoke horror. First-person interactive horror VR used light in dark spaces as a tool to evoke horror and make everything seem unfamiliar, and especially used various colors of artificial lighting to create a climate of fear that feels different. By keeping the distance between walls short and making the alleys and corridors narrow, the virtual space encourages users to move rather than staying or hanging around the spaces. A multilayered labyrinthine structure connected by doors and stairs is created, making spatial cognition difficult, and this allows users to move along the route planned by the developer, although it seems as if they are moving at their own will.

핸드헬드 카메라 기법을 통한 3D 애니메이션의 공포 표현 연구 - <마네퀸의 꿈> 제작을 중심으로

류혁,장욱상 한국콘텐츠학회 2024 한국콘텐츠학회논문지 Vol.24 No.8

본 논문은 3D 애니메이션에서 핸드헬드 기법을 활용해 공포를 표현하는 방법을 연구한 것으로, 본인 작품인 〈마네퀸의 꿈〉 제작을 통해 이를 탐구하였다. 공포를 효과적으로 표현하기 위해서는 강한 몰입감이 필요하지만, 애니메이션은 허구성이 드러나 몰입감을 형성하는 데 어려움이 있다. 그러나 3D 애니메이션은 보다 사실적인 표현이 가능하여 이를 극복할 수 있으며, 핸드헬드 기법을 함께 활용하면 현장감, 주관적 관점, 불안정한 움직임을 통해 생생한 공포를 전달할 수 있다. 연구 방법으로는 핸드헬드 기법의 역사와 특징, 3D 애니메이션 카메라의 특징을 조사하고, 실사영화와 3D 애니메이션에서의 핸드헬드 기법 사례를 분석하였다. 이를 바탕으로 본인 작품 제작에 핸드헬드 기법을 적용하여 구체적인 공포 표현 방법과 효과를 검토한 결과, 강한 공포감을 전달하는 작품을 제작할 수 있었다. 이 연구는 3D 애니메이션 제작자들에게 공포 표현 방법에 대한 유용한 정보를 제공할 것으로 기대된다. This paper studied how to express horror using the handheld camera technique in 3D animation, and explored this through the production of our work, 〈Mannequin’s Dream〉. A strong sense of immersion is required to express horror effectively, but animation has difficulty forming a sense of immersion due to its fictional images. However, 3D animation can overcome this with its more realistic images, if the handheld camera technique is used together, vivid horror can be conveyed through a sense of realism, a subjective perspective, and unstable movements. First, we researched the history and characteristics of the handheld camera technique. After that, the characteristics of the 3D animation camera were investigated, and examples of the handheld camera technique in live-action films and 3D animation were analyzed. Based on this, we applied specific methods and effects of the handheld camera technique to the production of 〈Mannequin’s Dream〉, as a result, we made a work that conveyed a strong sense of horror. This study is expected to provide useful information on how to express horror to 3D animation producers.

공포와 에로티시즘의 만남: 1970년대 군사정권기 영화통제정책과 에로틱공포영화

김효정 문학과영상학회 2018 문학과영상 Vol.19 No.2

The 1970s Korean cinema witnessed the lowest point in terms of the number of film production and artistic quality. With the growth of television, film industry greatly suffered from the decrease of film audience. However, it is the state operated film policy that virtually ‘killed’ Korean cinema (Lee, Y., 1985): Park Chung hee’s state-operated film censorship exerted unprecedented power over film studios and directors, supervising every film from the stage of script to theatrical release. The films that had little to do with the reality of the time, were more likely to be shown to public resulting in the advance of soft-core melodramas, horror and martial arts films. Horror films were less torn by state censorship perhaps because they had less to do with social and political reality. Also they remained relatively lucrative despite the industrial downfall because of their low cost for production. Most remarkably, the horror films produced during the Yushin period stand out for the distinct level of sexual representation involved with the female ghost/protagonist. It was possible since the state censors tended to condone sexual representation in films to drive away public attention from politics as well as to please producers and directors who were increasingly becoming critical with strict military censorship (Chung, H., 2005; Yu, S., 2004; Kim, S., 2000; Park, J., 2008). Wedding sex and horror quickly became a strategic convention to please decreasing film audience as well as to avoid state censorship. This article case-studies three films, Fidelity (Su Jeol, Ha Gil-jong, 1974), Cat Woman (Myo Nyeo, Hong Pa, 1974) and Resentment of Daughter in Law (Myoneuri eui Han, Park Yoon-gyo, 1972) to demonstrate how eroticism in these horror films was manifested and expanded as a result of notorious film censorship also as a commercial strategy during Park Chung-hee’s yushin period. At the same time, it seeks out to illuminate cinematic representation of female sexuality which critically foregrounds the expansion of erotic films in the mainstream Korean cinema during the 1980s.

동서양 공포 영화 포스터의 컬러 표현 비교분석

기가민,명광주 한국디자인학회 2023 Design Works Vol.6 No.2

This study analyzes the colors of 100 horror movie posters from the East and West to identify color differences in the representation of horror. The aim is to contribute to the development of color strategies to improve consumer preferences and to promote movie consumption. According to the results, first, there were significant differences in the use of colors in horror movie posters in both regions, but they were also relatively similar. Second, the use of red in horror movie titles was higher in the East than in the West. Western movie posters were more likely to use bright red and warm yellow colors. Third, the regions used similar colors that displayed significant nuanced differences, which indicated emotional differences between the two regions. These findings suggest the need for a sophisticated color strategy that considers local culture, social environment, ethnic and religious characteristics, and emphasis on unique emotions to create differentiated perceptions and viewing intentions to increase a movie’s appeal. This study carries academic value in terms of cultural theory in the expression of fear, an emotion that is close to human instincts, and practical value in offering tips that can be applied in the movie industry. 본 연구는 동서양 공포 영화 포스터 각 100편의 컬러를 분석함으로써 공포 표현에서의 컬러 차이를 밝혀내고, 소비자 선호도 향상과 영화 소비 촉진을 위한 컬러 전략 수립에 기여할 목적으로 연구되었다. 연구 결과 첫째, 동서양의 공포 영화는 컬러 사용에 유의할 만한 차이가 있었으나, 비교적 유사성이 많았다. 둘째, 공포 영화 제목에서 동서양은 붉은색을 많이 사용하였으나 동양이 다소 높았다. 서양은 밝은 붉은 색과 따뜻한 황색 사용이 많았다. 셋째, 동서양은 유사하면서도 유의미한정도의 미묘한 차이가 있는 컬러를 사용함으로써, 감성 차이가 있음을 알 수 있었다. 효과적인 영화 어필을 위해서는 지역문화, 사회 환경, 민족과 종교 특성을 고려하고 독특한 감성을 강조해야만 차별화된 인식과 관람 의도 형성이 가능하므로, 정교한 컬러 전략의 필요성을 시사하였다. 본 연구는 인간 본능에 가까운 공포 감정 표현에서 발견하는 문화론 측면에서의학술 가치와 실제 영화산업 현장에 적용 가능한 팁을 제공하는 실무 가치가 있다.

살아있는 시체 좀비와 강시 캐릭터 비교 연구

안창현 ( Ahn Chang-hyun ) 한양대학교 동아시아문화연구소(구 한양대학교 한국학연구소) 2017 동아시아 문화연구 Vol.68 No.-

공포의 대상을 콘텐츠의 소재로 활용한 역사는 오래되었다. 다양한 공포 캐릭터 중 좀비와 강시는 모두 시체와 관련된 캐릭터이다. 두 캐릭터는 인간의 가장 원초적인 공포심과 관련된 살아있는 시체라는 측면에서 매우 유사하지만, 동시에 상당한 차이점을 갖고 있다. 미학적 측면에서 좀비 캐릭터가 시대의 변화에 따라 공포의 미학을 강화시켜 간 반면, 강시의 이미지는 웃음의 대상으로서 소진된 측면이 강하다. 아이티의 괴담이었던 좀비는 조지 로메로 감독의 영화를 통해 기본공식이 형성되었고, 점차 공포의 대상으로 발전해왔다. 좀비영화가 공포를 유발하는 방식은 신체훼손과 피, 떼를 지어 다니는 좀비의 군중성, 빠른 확장성, 움직임의 가속화와 같은 전략을 활용했다. 강시는 중국 민간 괴담에 뿌리를 두고 있다. 홍콩 강시영화는 무술 + 코믹 + 도술이 혼합된 특유의 미학을 형성하였고, 전체적인 기조는 희극적 미학이 주를 이루었다. 강시영화가 웃음을 유발하는 방식은 중심인물의 해프닝, 강시의 특징을 이용한 위기해소, 강시를 통제할 수 있는 도술 등이 주로 활용되었다. 좀비영화와 강시영화에서 살아있는 시체를 바라보는 관점은 모두 인간에 속하지 않는 타자, 즉 이질적 존재로 바라보고 있다. 하지만 타자를 바라보는 시선에서 양자는 상당한 차이를 갖고 있다. 좀비를 통해 구현된 것은 인간의 시체화이다. 인간의 시체화는 관심의 초점이 위협의대상으로서 괴물에 있지 않고, 인간이 허위의식과 그 허위의식이 만들어낸 물질적 토대에 의해 동물이나 사물처럼 변해간다는 사유를 형상화한 것이다. 강시는 이미 죽어버린 시체가 다시 살아 움직이는, 즉 시체가 인간화되는 방향성을 가진 캐릭터이다. 살아있는 자와 이미 분리가 끝난 관계이기에 강시는 단순한 침입자로서 성격을 갖는다. 따라서 강시를 원래 있어야 할 자리로 원상복귀 시키는 행위는 내적 갈등이 불필요한 도덕적 정당성을 얻게 된다. 본격적인 문화산업 시대에 들어서면서 좀비는 더욱 주목받는 캐릭터로 성장하고 있다. 특히 게임과 테마파크처럼 상호작용성이 가능한 영역에서 좀비 활용의 새로운 양상을 보여준다. 상대적으로 강시는 캐릭터 성격 개발이 멈추면서 디지털시대에 적합한 활용방식을 찾고 있지 못하고 있는 상태이다. It has been a long history to use the object of horror as cultural content. The character of zombie and jiangshi is all related with the corpse in many horror characters. Although death is a natural phenomenon to everybody, it has an ultimate original fear to human in respects of all ties cut. Zombie and jiangshi are horror characters as living corpses in association with death. However, there are many differentiations as well as similarities in the both. In a side of aesthetic, the character of zombie has strengthen horror aesthetic with the changes of time, while the image of jiangshi has been consumed as the object of laughs. The basic formula of zombie was completed by a movie of director Geroge A. Romero and has been developed as the object of horror. The zombie movies use strategies like mutilation, blood, mass zombies, fast extension, and speed improvement of zombie moving to cause horror. Jiangshi is based on a ghost story in the China folk. The jiangshi movies of Hong Kong have formed an unique aesthetic with martial arts, comics, and magical arts, and comic aesthetic is a mainstream. The laughter-induction methods in Jiangshi movies are happenings of main characters, crisis solution by the character of Jiangshi and magical arts to control Jiangshi. A viewpoint to see living corpse in the zombie and Jiangshi movies is same in the standpoint of that they are not human as other different being. However, the two has a significant difference in the eyes of seeing other being. The embodiment of zombie is making cadaver of human. The focus of attention in the cadaver of human is not a monster as an object of threat but a embodiment of human thinking which human becomes animal or matter based on material bases from false consciousness of human. Jiangshi has a character which dead body is alive and corpse becomes human being. It means Jiangshi has a nature of simple intruder because Jiangshi is already dead body. Therefore, living being can obtain moral justification without any inner conflicts if Jiangshi can restore at the original place. In the full-scale times of cultural industry zombie is developing as a spotlighting character. Particularly, the utilization of new zombie is appeared in the interaction possible parts like game and theme park. On the other hand, Jiangshi has failed to find out the new methods of utilization in the digital times as the development of character was stopped.

공포의 스펙터클 -빅토리아 시대를 향한 뮤지컬의 동경 <지킬 앤 하이드>, <스위니 토드>, <잭 더리퍼>를 중심으로-

최승연 ( Seung Youn Choi ) 한국연극학회 2013 한국연극학 Vol.1 No.51

이 논문은 한국 뮤지컬 시장의 레퍼토리 확장의 움직임을 포착하는 것에서 촉발되었다. 2010년 이후의 추리·스릴러 계열 뮤지컬의 약진은 새로운 레퍼토리의 개발이라는 측면에서 일단 긍정적인 평가를 받을 만하다. 이 논문에서는 이러한 관점 아래, 빅토리아 시대를 배경으로 하고 있는 추리·스릴러 계열 라이선스 뮤지컬 세 편을 분석했다. <지킬 앤 하이드>, <스위니 토드>, <잭 더 리퍼>는 ‘흥행성적’과 ‘로컬화’의 측면에서, 그리고 빅토리아 시대의 여러 양상들을 작품의 근간에 두고 있다는 점에서 분석 대상으로 선정되었다. 위의 작품들은 살인과 광기를 전경화하고, 그 안에 빅토리아 시대상에 근거한 계급의식과 성에 관한 이데올로기를 심어 놓고 있다. 하이드, 토드, 잭/다니엘의 행동패턴은 광기로 집약될 수 있을 정도로 이성의 세계를 벗어나 있다. 예측 불가능한 행동들은 무대에 공포를 조성하고, 특히 이들의 캐릭터 및 드라마의 변주는 실제 사건에 근거하거나 혹은 실재할 수도 있다는 집단적 믿음에 놓여있기 때문에 환상과 현실을 이중적으로 환기하는 공포를 자아낸다. 빅토리아 시대를 다룬 뮤지컬들의 일차적 매혹의 지점은 따라서 ‘공포’에 연원을 두고 있다고 말할 수 있겠다. 한편, 실제 무대에서는 텍스트의 이러한 면을 ‘즐길 수 있는 감성의 공포’로 재현한다. 주인공을 향한 연민의 정서가 강조되고 작품의 외피가 이국적인 낭만성으로 장식되는 것은, 대상 뮤지컬들이 공포의 정서를 대중과 소통할 수 있는 수위로 조절하는 하나의 방식이라 할 수 있다. This paper starts by capturing the motion of repertory expansion in the Korean musical market. The rapid expansion of mystery and thriller musicals is enough to receive positive praise in terms of development of new repertory after 2010. In this respect, this paper analyzes the appeal of musicals set in the Victorian Age along with the origin of the texts from a literature perspective. The three object texts foreground murder and madness and imbue an ideology of class consciousness and sexuality based on the opinions of the Victorian Age. The behavior patterns of Hyde, Todd, and Jack/Daniel are so outside the realm of reality that they could all be said to be mad. Their unexpected behavior patterns create an atmosphere of horror. In particular, their characters and the plots evoke a two-fold feeling of horror which rouses between reality and fantasy due to the public belief that these musicals are or could be based on actual events. Therefore, the primary fascination point of musicals dealing with the Victorian Age could be ‘horror.’ However, this characteristic is also described as ‘romance’ when shown on the actual stage. Most Korean audiences follow the reproduction method of romantic trends, and the romantic aspects of these musicals fascinates more when it is ‘exotically romantic.’ While “London in 1888, there was a romance” is the main copy of Jack the Ripper, these words don`t seem to be relevant to the story. However, these words are used to romanticize London in the Victorian Age and arouse ‘imagined exoticism.’ Horror and romance are the two main factors used for communication between musicals set in the Victorian Age and Korean audiences.