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The middle 90s has been considered as the time of ending the era of 'Korean new wave' cinema and of beginning the era of so called the problematic post-Korean new wave cinema. The most characteristic difference between Korean new wave cinema and post-Korean new wave cinema was the transition from the realistic compulsion to the generic imagination with unique individual styles. Today, according to Kim Young Jin, Korean cinema could be classified into four groups: the commercial project cinema; blockbusters; auteur films; and some other films in between art and entertainment, which is characterized by its generic styles with auteurist touch. Memories of Murder. A Bittersweet Life. Old Boy. Sympathy for Mr. Vengeance, The President's Last Bang, Antarctic Journal. Sympathy for Lady Vengeance etc. are supposed to belong to the fourth category.
When the generic codes began to be actively adopted, critics saw this phenomenon as a compromise with commerciality by the realist group. However, psychoanalysis can help illuminate the fact that the generic imagination is not always the instrument of consumerism. Psychoanalysis teaches us that the locus of the truth is not in reality, but in psychic reality, and the truth can be revealed with more honesty when it is carried in fictions. Thus, insofar as the realism deals with reality structured by fantasies, according to Lacan, it cannot approach to the real. Generic imagination might be the better way to make the real return.
When the real, or the real of desire, comes out to reality, it forces us to answer to the kind of ethical questions(such as "is it right to make love to his daughter?" or "who could judge the criminal without any criminal intentions?") disturbing our balanced common senses and making us 'act' in a Lacanian sense. We might call this kind of films leading us to the shock of truth "the real realist cinema".
Ironically enough, the problems in reality such as the reunification of the nation or the conflicts between classes etc, which used to be the social realist films' interests from the 1980s to the middle of the 90s are now becoming the most popular contents of the other kind of genre films, that is the commercial project films. Comparing to this kind of movies, the real realist films are much more radical though they seem more unreal, generally speaking, in their contents as well as their forms, insofar as they provide us the moment of rethinking the logics supporting the existent symbolic order. And this radical instance is the auteurist aspect of the real realist films if we still can count on the auteurist ideas in relation to the ethics of film-making.
In short, the generic character of a film does not make it a anti-realist film. Nevertheless, the generic imagination staging the real does not automatically make a film 'desirable'. What is at stake is the sexuational logic in dealing with the real because Lacanian thoughts insist that only the feminine subject can be the ethical 'subject' who can creates the new symbolic order. The masculine logic can allow the partial freedom of realizing exceptions in the existent symbolic order. Therefore, it is time to rethink and recategorize the realist tradition of Korean cinema The new category of 'the real realism' indicates only one of the starting points.
When the generic codes began to be actively adopted, critics saw this phenomenon as a compromise with commerciality by the realist group. However, psychoanalysis can help illuminate the fact that the generic imagination is not always the instrument of consumerism. Psychoanalysis teaches us that the locus of the truth is not in reality, but in psychic reality, and the truth can be revealed with more honesty when it is carried in fictions. Thus, insofar as the realism deals with reality structured by fantasies, according to Lacan, it cannot approach to the real. Generic imagination might be the better way to make the real return.
When the real, or the real of desire, comes out to reality, it forces us to answer to the kind of ethical questions(such as "is it right to make love to his daughter?" or "who could judge the criminal without any criminal intentions?") disturbing our balanced common senses and making us 'act' in a Lacanian sense. We might call this kind of films leading us to the shock of truth "the real realist cinema".
Ironically enough, the problems in reality such as the reunification of the nation or the conflicts between classes etc, which used to be the social realist films' interests from the 1980s to the middle of the 90s are now becoming the most popular contents of the other kind of genre films, that is the commercial project films. Comparing to this kind of movies, the real realist films are much more radical though they seem more unreal, generally speaking, in their contents as well as their forms, insofar as they provide us the moment of rethinking the logics supporting the existent symbolic order. And this radical instance is the auteurist aspect of the real realist films if we still can count on the auteurist ideas in relation to the ethics of film-making.
In short, the generic character of a film does not make it a anti-realist film. Nevertheless, the generic imagination staging the real does not automatically make a film 'desirable'. What is at stake is the sexuational logic in dealing with the real because Lacanian thoughts insist that only the feminine subject can be the ethical 'subject' who can creates the new symbolic order. The masculine logic can allow the partial freedom of realizing exceptions in the existent symbolic order. Therefore, it is time to rethink and recategorize the realist tradition of Korean cinema The new category of 'the real realism' indicates only one of the starting points.
목차
1. 리얼리즘적 강박에서 장르적 상상력으로
2. ‘가면의 변증법’과 시재의 귀환
3. ‘실재적 리얼리즘’과 ‘진리의 충격’
4. 개성적 스타일, 그리고 윤리적 주체로서의 작가
5. ‘예외’의 논리냐, ‘비-전체’의 논리냐?
참고문헌
Abstract
참고문헌 (18)
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