영화 <벌새>가 보여주는 페미니즘 정치미학의 (불)가능성 = A Study on the Im/possibility of feminism’ Political Aesthetics : Focusing on the House of Hummingbird

다국어 초록 (Multilingual Abstract)

This article critically explores the film “House of Hummingbird”(2018), leaning on Jacques Ranciere’s “Politics of Aesthetics.” For Ranciere, Aesthetics is in line with Politics in terms of “the distribution of the sensible.” The main interest in Aesthetics is to set the boundary between the visible and invisible, between the speech and noise, and it is because of politics that the audience weaves the way the senses are distributed. The film “House of Hummingbird” received much acclaim for acting as seed that depicts the possibility of Korean Films on feminisms, focusing on the micro-history of women as individuals, while accumulating macro-level problems to view structural concerns. However, in the process, the film appears to be using “the collapse of the Seongsu Bridge” as a tool to degenerate the disaster into a literal one. Moreover, since the movie focuses excessively on women’s “real” lives, it seems to rely on the familiar way of distribution of the sensible instead of serving as “fiction” that rewires individuals’ common-sense. If films on feminisms are a part of an effort at feminist practice to combat all forms of discrimination and violence, and abolish the structures of power that lead to domination and subjugation, they should not use violence on others or other people’s suffering, to justify their claims. Simultaneously, if films on feminisms want to exist in the world as a new kind of historical testimony composed by cultural imagination, rather than historical evidence based on realistic records, they should seriously consider new ways of representation, narratives, and creating fiction. Ultimately, this article argues that for Korean films on feminisms to go further, they must create a new common-sense, which is away from the familiar representation systems and cinematic customs that have been repeated overtime without questions.

참고문헌 (Reference)

1 Ranciere, J., "해방된 관객" 현실문화연구 2016

2 한송희, "한국 재난영화의 정치적 무의식: 2010년대를 중심으로" 사단법인 언론과 사회 27 (27): 98-166, 2019

3 뉴스1, "여자들 뭉치면 뜬다…예능계 이어 영화계 트렌드될까"

4 중앙일보, "여성 감독 약진, 페미니즘 대중화…코로나 속 여성 영화 눈길"

5 김보라, "벌새: 1994년, 닫히지 않은 기억의 기록" 아르테 251-310, 2019

6 남다은, "벌새: 1994년, 닫히지 않은 기억의 기록" 아르테 217-225, 2019

7 정희진, "벌새: 1994년, 닫히지 않은 기억의 기록" 아르테 239-246, 2019

8 Ranciere, J., "미학 안의 불편함" 인간사랑 2014

9 심진경, "미투 시대에 페미니즘 문학은 어떻게 전개되는가?" 37 : 300-343, 2018

10 Ranciere, J, "감성의 분할" 도서출판b 2008

11 한영현, "가족과 사회의 윤리적 폭력을 응시하는 영화 <벌새>" 현대영화연구소 16 (16): 33-52, 2020

12 조선일보, "‘벌새’→‘야구소녀’ 韓여성성장 영화 흥행 계속된다"

13 조흡, "<벌새>: 상징적 폭력에 맞선 여성적 글쓰기" 68 (68): 98-100, 2020