한국 독립영화에 나타난 자기반영적 미학과 희극 전략 연구

• 영문명: A Study on self-reflexive aesthetics and a play strategy which appears in Korean independent film
• 발행기관: 한국영화학회
• 저자명: 문관규
• 간행물 정보: 『영화연구』제54호, 117~144쪽, 전체 28쪽
• 주제분류: 예술체육 > 예술일반
• 파일형태: PDF
• 발행일자: 2012.12.31

영문 초록

When Korea independent film escaped from obsession of realism and then pushed aesthetic boundary, representative strategy is making a self-reflexivity film. Yoon sung ho and Gog Sa, the playing modernism generation, pushed the aesthetic boundary of Korea independent film. Even though both of them made use of a self-reflexivity strategy and a play strategy with comedy, there is a distinct difference between them. Yoon sung ho established unique style and diverged from the name of playing modernism. His self-reflexive style showed the repeat of the style, completed film with a single text that was mixed and integrated with different main characters from diverse plots. Diverse texts weren’t passive self-reflexivity but they were recreated as aggressive self-reflexivity style by Yoon Sang Ho’s unique style. New style required new naming in that it accomplished completion of a unique text through overthrow and difference, breaking with existing self-reflexivity. The author gave it a name as the playing modernism generation and reverseism provisionally. Compare to Yoon Sung Ho, the Gog Sa’s self-reflexivity style is lucid. Gog Sa creatively reinterpreted philosophy discourse and quoted it by arranging it as mise-en abyme. Gog Sa’ s reinterpreted Marx’s critically. played with antichristianism which was shown in Nietzsche’s and suggested his cinematic answer about Hegelian Dialectic indirectly. Gog Sa’s Texts expand intertextuality or escape from it by an overthrow of subject and a breakaway from form. Gog Sa stays away from the self-reflexive strategy that accepts texts in similar genre. He is unique in that he quoted a huge text, philosophy books and western idea and deconstructed it and reinterpreted it. Revealing a folly and infamy, the play strategy of Yoon Sung Ho and Gog Sa adopted the superiority theory which gave laugh to audience. Superiority theory brings the powerful into a laughing stock. Distinctive play strategies are also repetition and mimicry. Repetition underlines rigidity of ideology and aims to caricature and deconstruct invisible power such as dominant ideology. Mimicry mitigates seriousness as a child’s play and resists against enemy with comedy. Aggressive comedy is representative play strategy of playing modernism which means resist with comedy, escaping from rigidity of realism. Overthrowing comedy was noteworthy tendency of independent film in 2000 th. Existing assessment that social criticism function is monopolized by realism films has to be modified by the playing modernism generation. Gog Sa and Yoon sung ho correspond with advent of new generation in that they have developed their unique view of the film world not by formal modernism but by the playing modernism and not through realism but through antirealism.

목차

1. 한국독립영화의 새로운 물결 : 유희적 모더니즘 세대

2. 유희적 모더니즘의 미학 전략으로서 자기반영적 영화 기법

3. 독립영화의 유희적 도구로서 희극 장면 수용 양상

4. 한국적 아방가르드의 길찾기 : 리얼리즘에 대한 거부와 모더니즘에서 벗어나기

5. 유희적 모더니즘 세대의 출현 의의

키워드

Independent Film play playing modernism mise-en abyme reflexivity intertextuality hyper text superiority theory mimicry Gog Sa