“뉴 시네마”를 번역하기 = 하길종의 〈화분〉에 드러난 자기반영성과 문화정치학

다국어 초록 (Multilingual Abstract)

Having passed away thirty years ago, director HA Kil-chong is a figure like a prism through which Korean cinema of the 1970s can be illuminated. However, previous studies on him have been devoted to mystified biographical estimations, or they have tended to position him as an exceptional director while failing to historically contextualize him within the tradition of auteurism or of realist discourses in Korean cinema. HA's symbolic legacy known as an omnidirectional "film fighter" in Korean cinema of the 1970s is important in terms of rewriting the history of Korean cinema not as a break between the heyday of Korean cinema in the 1960s and Korean New Wave of the 1980s, but as a "continuity" between them.
Intimately connecting HA as critic-theorist to him as director, this essay focuses on his diasporic identity and concomitant issues of "reception" and "translation." Drawing on "cinema of poetry (pier Paolo Pasolini)," "photogenic," and "surrealism," all that HA considered as expressive of the essence of cinema throughout his writings, I will examine the ways in which he "imagined" a kind of cosmopolitan Korean cinema in dialogue with his contemporary current of international New Cinema. My object of analysis in this essay is The Pollen of Flowers(1972), his debut feature film in which his cinematic self-consciousness germinated and which HA himself called his masterpiece.
Influenced by Pasolini, Ingmar Bergman, and others, HA fostered his cinephiliac sensibility in the scene of "New American cinema" in the 1960s known as "the age of auteurs" and "the era of new art cinema." After his return to Korea in 1970, he proclaimed a "revolution" of Korean cinema in the name of "new generation, new cinema, and new spirit"with an "orphan consciousness" that denounced his father's generation. As manifested in his criticisms that compare An Aimless Bullet (YU Hyeon-mok, 1961) and Rashomon(Akira Kurosawa, 1950) or Korean cinema and Western cinema, HA's awareness of universalism and particularism is the point at which his internalized otherness and ambivalence of coloniality/postcoloniality are contradictorily revealed. Premised on lack due to his distanced observation as a student studying abroad, his understanding of Korean cinema and its history takes on a "doubled" and "diasporic" identity.
The Pollen of Flowers has not been properly understood, though it is a problematic film in the sense that it commingles the attempts at the cinema of poetry, instead of the cinema driven by narrative, with the disquieting madness in the Yushin [Revitalizing Reform] era (1972-1979). Despite its scandal derived from an accusation that it plagiarized Pasolini's Teorema(l968), the film exposes its rich meanings only through an intertexual, comparative study of Teorema, Lee Hyo-seok's original novel of the same title, and Kim Ki-young's The Housemaid series. The film's plentiful intertexuality, I would claim, is important in that it testifies to Rey Chow's arguments on the strategy of translation between two cultures-the translation as a cultural resistance, or the "transportation of visuality through media"beyond text-based translation. The film's portrayal of its protagonist, as confined in the "blue house"that symbolizes the prison-like reality of Korean society, is in this sense read as embodying an "inward exile" of young generation who resisted president Park Jeong-hee's political power in the 1970s.

목차 (Table of Contents)

• 1. 들어가며
• 2. 수용과 번역의 문화정치학: 이효석 〈화분〉▶하길종 〈화분〉◀파졸리니 〈테오레마〉
• 3. 하길종의 ‘상상적’ 뉴 시네마: 시적 영화와 포토제니
• 4. 〈화분〉의 자기 반영성과 ‘내적 망명’
• 5. 결론
• 참고문헌
• Abstract

참고문헌 (Reference)

1 이영일, "한국영화사 강의록" 도서출판 소도 2002

2 손세일, "한국논쟁사 5" 청람출판사 1980

3 문재철, "한국 영화비평 담론의 타자성과 콤플렉스, in 한국영화의 미학과 역사적 상상력" 도서출판 소도 2006

4 김동식, "하길종의 영화와 글쓰기에 관한 몇 개의 주석" 2009

5 강성률, "하길종 혹은 행진했던 영화 바보" 이론과 실천 2005

6 한국영상자료원, "하길종 전집 3:자료편" 한국영상자료원 2009

7 신강호, "하길종 영화의 스타일 분석" (15) :

8 박명진, "하길종 영화의 섹슈얼리티와 공간정치학 —<화분(花粉)>을 중심으로—" 우리문학회 (26) : 219-245, 2009

9 안재석, "하길종 감독 바로보기 -영화계 입문 이전의 행적을 중심으로-" 한국영화학회 (40) : 127-159, 2009

10 안재석, "청년영화운동으로서의 ‘영상시대’에 대한 연구" 중앙대 2001

11 조고운, "이효석 소설의 ‘디아스포라 의식’ 연구" 서강대학교 대학원 2009

12 변인식, "영화미의 반란" 태극출판사 1972

13 변인식, "영화를 향하여, 미래를 향하여" 공간미디어 1995

14 김호영, "영화 이미지와 포토제니 -장 엡스탱의 이론을 중심으로-" 한국영화학회 (36) : 147-173, 2008

15 "영상시대》창간호 1977년 여름"

16 피에르 파올로 파졸리니, in 세계 영화이론과 비평의 새로운 발견, "시의 영화" 도서출판 가온 2003

17 이혁상, "소설 ｢화분｣, 그리고 <화분>과 <테오레마>" 11 : 2003

18 하길종, "사회적 영상과 반사회적 영상" 전예원 1982

19 나오키 사카이, "번역과 주체" 이산 2005

20 하길종, "백마 타고 온 또또" 예조각 1979

21 발터 벤야민, "발터 벤야민의 문예이론" 민음사 1983

22 이효석, "메밀꽃 필 무렵" 청목사 2001

23 레이 초우, "디아스포라의 지식인" 이산 2005

24 아르준 아파두라이, "고삐풀린 현대성" 현실문화연구 2004

25 "《한국일보》, 1972년 4월 7일 8면 광고, 1972년 4월 15일 5면 광고"

26 "《서울신문》, 1972년 4월 4일, 8면 광고"

27 "《동아일보》, 1972년 4월 6일 7면 광고, 1972년, 4월 11일 광고. 1972년 4월 13일 8면 기사(‘영화단평’)"

28 "《계간 영화언어》, 변인식, 홍파, 김호선 인터뷰(진행: 안재석) 봄호"

29 Laura U. Marks, "The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses" Duke University Press 2000

30 Pier Paolo Pasolini, "The Cinema of Poetry, in Movies and Methods: An Anthology, vol.1" University of California Press 542-558, 1983

31 András Bálint Kovács, "Screening Modernism: European Art Cinema 1950~1980" Unversity of Chicago Press 2007

32 Hamid Naficy, "Phobic Spaces and Liminal Panics: Independent Transnational Film Genre, in Global/Local: Cultural Production and the Transnational Imaginary" Duke University Press 119-144, 1996

33 Jean Epstein, "On Certain Characteristics of Photogénie, French Film Theory and Criticism Vol 1:1907～1929" Princeton University Press 314-318, 1988

34 Abe Mark Nornes, "Cinema Babel: Translating Global Cinema" University of Minnesota Press 2007

35 Steve Neale, "Art Cinema as Institution" 22 (22): 11-39, 1981

36 이연호, "<살아남은 당신들은 모두 피고>,《키노》1999년 3월호"

37 허문영, "<분열의 시대, 불온한 영화, 반영웅의 삶>,《씨네 21》192호"

38 이정하, "1970년대 [영상시대] 읽기" 한국영화학회 (30) : 222-249, 2006