지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
Im Kwon-taek's film has roused the public memory of the contemporary Korean cinema's audience. A public memory can be supplemented by a screen-memory. The primal scene and the screen-memory on Im Kwon-taek's film are working as critical agents.
While a screen-memory is a private memory of childhood, a primal scene is transformed and reconstructed on the basis of a phantasy and a real experience. A primal scene and a screen-memory are returned, when the experience of an author's childhood is sublimed into the level of art as it has been repressed and reserved within everyday practices. These two elements as the agents of author's creativity on the aspect of psychoanalysis have essential meanings.
The core narrative of Im Kwon-taek's film is the main characters' searching for their family/home. The fundamental reason of searching for home has its root in the primal scene. Also, more concrete cinematic persuasion is performed by the screen-memory. Sopyonje and Kilsodeum are the representative films of Im with the narrative which characters are searching for their home.
Dong-jin in Kilsodeum dedicates his whole life to look for love, which the woman named Hwa-young is representative of, and his family/ home. The narrative's journey in this film is unfolded with the live broadcasting event of looking for separated family members as a national campaign.
Sopyonje narrates Dong-ho's searching for Song-hwa in the surface of the film. However, what Song-hwa symbolizes is his sister, lover, and home as well. This film similar with Im's other films also treats the narrative of the character's searching for home. It is connected with the core narrative on Im's film expressed as characters' searching for home.
The narrative of searching for home on Im's film is related to his experience of leaving home. At this point, we are provided the clue which the primary cause of the narrative on Im's film can be resolved. Im is trying to search for his lost home, and return to his home repetitively through the characters on his film.
Im's film came to represent Korean's inner landscape well. Because the Korean War as the Korean's public memory, and the experience of leaving home caused by urbanization are well represented by the characters of his films such as Sopyonje and Kilsodeum. These characters have gained audience's sympathy by devoting themselves to narratives of searching for sisters and sons synonymous of home, where Korean audiences have left themselves for another place. This journey not only is Korean's inner landscape, but also is represented as the archetypical narrative of Im's film simultaneously, as far as people, who run away from their sweet family/ home for needs of a living, is going on the journey of searching for their family/ home after a long time. The drive of this narrative is the primal scene and the screen-memory controling Korean people or characters of Im's film.
While a screen-memory is a private memory of childhood, a primal scene is transformed and reconstructed on the basis of a phantasy and a real experience. A primal scene and a screen-memory are returned, when the experience of an author's childhood is sublimed into the level of art as it has been repressed and reserved within everyday practices. These two elements as the agents of author's creativity on the aspect of psychoanalysis have essential meanings.
The core narrative of Im Kwon-taek's film is the main characters' searching for their family/home. The fundamental reason of searching for home has its root in the primal scene. Also, more concrete cinematic persuasion is performed by the screen-memory. Sopyonje and Kilsodeum are the representative films of Im with the narrative which characters are searching for their home.
Dong-jin in Kilsodeum dedicates his whole life to look for love, which the woman named Hwa-young is representative of, and his family/ home. The narrative's journey in this film is unfolded with the live broadcasting event of looking for separated family members as a national campaign.
Sopyonje narrates Dong-ho's searching for Song-hwa in the surface of the film. However, what Song-hwa symbolizes is his sister, lover, and home as well. This film similar with Im's other films also treats the narrative of the character's searching for home. It is connected with the core narrative on Im's film expressed as characters' searching for home.
The narrative of searching for home on Im's film is related to his experience of leaving home. At this point, we are provided the clue which the primary cause of the narrative on Im's film can be resolved. Im is trying to search for his lost home, and return to his home repetitively through the characters on his film.
Im's film came to represent Korean's inner landscape well. Because the Korean War as the Korean's public memory, and the experience of leaving home caused by urbanization are well represented by the characters of his films such as Sopyonje and Kilsodeum. These characters have gained audience's sympathy by devoting themselves to narratives of searching for sisters and sons synonymous of home, where Korean audiences have left themselves for another place. This journey not only is Korean's inner landscape, but also is represented as the archetypical narrative of Im's film simultaneously, as far as people, who run away from their sweet family/ home for needs of a living, is going on the journey of searching for their family/ home after a long time. The drive of this narrative is the primal scene and the screen-memory controling Korean people or characters of Im's film.
목차
1. 서론
2. 서사의 근원으로서 원초적 장면
3. 원초적 장면과 은폐기억의 재현방식으로서 플래시백
4. 소설, 영화, 작가라는 세 가지 층위
5. 두 가지 길: 쾌락원칙과 현실원칙의 도상에서
6. 결론: 가족 찾기 서사의 근원으로서 가출체험
참고 문헌
Abstract
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