〈하녀〉에서 쥐라는 장치가 수행하는 역할과 위상 = 김기영 신화의 비판적 재고를 위한 일고찰

다국어 초록 (Multilingual Abstract)

As is generally known, Kim Ki-young’s 〈The Housemaid〉(1960) has high status in Korean film history. When the film was released, however, it didn’t receive much attention by critics compared to other films at the time. As it encountered theoretical framework of postmodernism, it started to be revalued. In that sense, there is no doubt that 〈The Housemaid〉 transcends the ages. What matters is that recent discussion over the film in accordance with the postmodernist theoretical framework could be blamed for applying present perspective to the past unilaterally. In other words, the discussion is so abstract without sociocultural contents at the time. So it can’t even explain why the film did well at the box office when released. Therefore, this study is based on the idea that this film is an output of certain sociocultural contents as well, and focuses on the rat in the film which reveals effectively its connection with social context. In the 1960s, Korea began its modernization project, led by the government. Rats became considered as an outdated symptom by the process, distinct from modern creature. As such nature of a rat meets the housemaid, modern and premodern concepts coexist in the film. But this kind of approach has a risk to treat the film just as an object reflecting society. Thus this study also tries to look at the way of the rat being concretely embodied in the film. Unlike the postmodernist view, 〈The Housemaid〉 uses a clear and direct directing strategy to embody ‘a rat-human being’. And the strategy makes deep structures through the whole film to bring out premodern fear effectively. In this way, it can be proved that 〈The Housemaid〉 is not a film transcending the ages, but the output of contemporary conditions. Furthermore, it leads to the necessity of a critical reconsideration on the so-called ‘myth of Kim Ki-young’ which has been abstractly established by postmodernist theoretical framework. It’s undeniable that Kim Ki-young is a genius. But it’s because he stretched his cinematic imagination within the time he lived in, not because he was advanced for his time. The problem is his perception of the times was not far from the national discourse. That is, while his film recognized the times exactly, it didn’t go further to throw a doubt on the structure of the spirit of the times. It means 〈The Housemaid〉 is not a film ahead of his time.

목차 (Table of Contents)

• 1. 포스트모더니즘 이론모형
• 2. ‘쥐-인간’으로서의 정체성
• 3. ‘하녀=쥐’라는 도식의 구축
• 4. 쥐라는 장치의 사회문화적 위상
• 5. 탁월한 동시대적 감각
• 6. 김기영 감독과 〈하녀〉의 좌표
• 참고문헌
• Abstract

참고문헌 (Reference)

1 변재란, "한국영화사에서 여성 관객의 영화 관람 경험 연구:1950년대 중반에서 1960년대 초반을 중심으로" 중앙대 2000

2 이효인, "하녀들 봉기하다:영화감독 김기영" 하늘아래 2002

3 최강민, "조국 근대화와 스펙터클이 지배한 1960년대의 서울 풍경-1960년대 소설을 중심으로" 중앙어문학회 (40) : 317-342, 2009

4 이연호, "전설의 낙인" 한국영상자료원 2007

5 데이비드 보드웰, "영화의 내레이션Ⅰ" 시각과 언어 2007

6 김지혜, "영화, 역사" 소나무 2002

7 해리 하르투니온, "역사의 요동" 휴머니스트 2006

8 한국영상자료원, "신문기사로 본 한국영화 1958-1961" 공간과사람들 2005

9 공임순, "스캔들과 반공 -‘여류’ 명사 모윤숙의 친일과 반공의 이중주" 한국근대문학회 1 (1): 165-192, 2008

10 조희연, "박정희 체제의 복합성과 모순성, In 대중독재 2" 책세상 2006

11 박경희, "만들어진 고대" 삼인 2001

12 가라타니 고진, "네이션과 미학" 도서출판b 2009

13 고미숙, "나비와 전사" 책세상 2006

14 김금동, "김기영의 <하녀>에 나타난 장르 연구" 문학과영상학회 7 (7): 37-68, 2006

15 김호영, "김기영 영화의 공간 구조에 나타나는 근대와 전근대의 갈등양상" 한국기호학회 20 (20): 199-230, 2006

16 김소영, "근대성의 유령들" 씨앗을뿌리는사람 2000

17 이우석, "광복에서 1960년까지의 영화정책, In 한국영화 정책사" 나남출판 2005

18 박명진, "1970년대 극예술에 나타난 몸과 공간 이미지" 한국극예술학회 (23) : 75-120, 2006

19 경향신문, "1961년 4월 29일"

20 경향신문, "1961년 12월 22일"

21 동아일보, "1961년 12월 10일"

22 경향신문, "1958년 11월 27일"

23 경향신문, "1955년 7월 4일"

24 경향신문, "1955년 7월 4일"