엔딩 시퀀스 플래시백 연구

• 영문명: A Study of Flashback in Ending Sequence
• 발행기관: 한국영화학회
• 저자명: 박인영
• 간행물 정보: 『영화연구』제44호, 159~184쪽, 전체 26쪽
• 주제분류: 예술체육 > 예술일반
• 파일형태: PDF
• 발행일자: 2010.06.30

영문 초록

This study analyzes the function and signification of the flashbacks in ending sequences of 4 films; Joint Security Area, Friends, King and the Clown, and Welcome to Dongmakgol. Each of these films has the same tragic ending and use flashbacks to show specific past time and events at the end of the narratives. As internal homodiegetic analepses, the time before the catastrophe hits the community is reminisced. Although the flashback is usually described from the narrator's subjective point of view, these flashbacks except Friends don't have the subject who reconstructs the memory. Therefore, unlike the zero focalization of the classical third-person narrative, these flashbacks reveal the fundamental narrator. Extradiegetic narration of the fundamental narrator unfolded through the special effects and bird's eye view shot, etc. at the end express the wish to restore the lost community in imagination along with the longing for the destroyed community. Such flashbacks work based on the nostalgic impulse to return to the past on the premise of dichotomous division between the 'pure past' and the 'lost present.' At this point, the past time is not only a source from which the character facing the identity crisis forms identity but also an utopia. A piece of picture in JSA shows a lament for the loss of brotherly community that was formed under the ideological oppression of divided Korea. Friends goes back to the seaside of their youth to restore the friendship community in imagination, which is hard to maintain in reality. King and the Clown also goes back to the time of clowns, when only pleasure existed, in the face of death. The nowness of the tragedy of Welcome to Dongmakgol fades into the imaginary along with the peaceful sleep of the North and South Korean soldiers. These flashbacks don't juncture the past and the present. The past is given privileged and favored position as the present is replaced by the past. When the past works as a space and time for escape, the past turns into a myth. All relationship with the present is severed and they grieve while holding the sweet memory of the lost past. The ending sequences that are operated by nostalgic desire prove the lack of will to look at the future by facing and overcoming the catastrophic present.

목차

1. 들어가는 말

2. 회상 주체 : “누가 뒤돌아보는가?”

3. 과거 회귀 : “왜, 무엇 때문에 뒤돌아보는가?”

4. 현재의 폐쇄

5. 나가는 말

키워드

flashback ending sequence nostalgic impulse return to the past cinematic narrator pure past lost present