고레에다 히로카즈론

• 영문명: A Study on Hirokazu Kore-eda: The Deepest and Continuous Concerns About the Contemporary Japanese Society
• 발행기관: 한국영화학회
• 저자명: 주진숙 박진희
• 간행물 정보: 『영화연구』제55호, 543~569쪽, 전체 27쪽
• 주제분류: 예술체육 > 예술일반
• 파일형태: PDF
• 발행일자: 2013.03.31

영문 초록

For the director Kore-eda Hirokazu, making films would be a means for concerning the society and the times we live in. It is his world view,philosophy, ideology or values that affords fitting background for shaping his film world. This paper aims to explain how his world view and philosophy could be revealed throughout his films. Most papers regarding the early films of Kore-eda Hirokazu have dealt with metaphysical themes such as ‘death’ and ‘life,’ and the mise-en-scene that embodies the acts of remembering or condolences. They have their own limits in making sense the implicit meaning of the texts as the relationship between characters and plot. Accordingly they could easily ignore many contextual explanations. This paper tries to highlight that the films of Kore-eda Hirokazu could be explained as the results of the social commentaries which he has made as a documentary filmmaker. Especially his films has always been in contact with the concrete reality of Japanese society. And this comes from his personal viewpoints as the one who belongs to after-Zenkyoto generation,that is, otaku generation. For instance, the early films such as Maborosi and Distance display the lack of historical consciousness and express the sarcasm and rage against the Zenkyoto generation, presenting major characters who undergo the rupture of consciousness with the dead ones. Also, the films such as Nobody Knows, More Than Flower and Still Walking give symptomatic presentations of how the younger generation people attempt to tolerate the rage against the older ones. In the latest film, I Wish, Kore-eda Hirokazu makes inquiries about the possible unity between generations and family members, but it seems not feasible. The films of Kore-eda Hirokazu have a deep affinity with Japanese society and operate as a sensitive apparatus to reveal peculiarity of Japanese society. His world view becomes bleak and takes a turn for the worse.

목차

1. 들어가며: 2012년 겨울 일본의 풍경

2. ‘애도의 작가’, 그리고 ‘오즈’라는 굴레

3. 전공투 세대의 실패, 그리고 그 이후 세대의 자의식: <환상의 빛>, <디스턴스>

4. 분노를 어떻게 견딜 것인가: <아무도 모른다>, <하나>, <걸어도 걸어도>

5. 일본이라는 리얼리티: <진짜로 일어날지도 몰라, 기적>

6. 나오며: 일본이라는 ‘나쁜 장소’

키워드

Kore-eda Hirokazu Zenkyoto Ozu Yasjiro Maborosi Distance Nobody Knows More Than Flower Still Walking