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
Having passed away thirty years ago, director HA Kil-chong is a figure like a prism through which Korean cinema of the 1970s can be illuminated. However, previous studies on him have been devoted to mystified biographical estimations, or they have tended to position him as an exceptional director while failing to historically contextualize him within the tradition of auteurism or of realist discourses in Korean cinema. HA's symbolic legacy known as an omnidirectional "film fighter" in Korean cinema of the 1970s is important in terms of rewriting the history of Korean cinema not as a break between the heyday of Korean cinema in the 1960s and Korean New Wave of the 1980s, but as a "continuity" between them.
Intimately connecting HA as critic-theorist to him as director, this essay focuses on his diasporic identity and concomitant issues of "reception" and "translation." Drawing on "cinema of poetry (pier Paolo Pasolini)," "photogenic," and "surrealism," all that HA considered as expressive of the essence of cinema throughout his writings, I will examine the ways in which he "imagined" a kind of cosmopolitan Korean cinema in dialogue with his contemporary current of international New Cinema. My object of analysis in this essay is The Pollen of Flowers(1972), his debut feature film in which his cinematic self-consciousness germinated and which HA himself called his masterpiece.
Influenced by Pasolini, Ingmar Bergman, and others, HA fostered his cinephiliac sensibility in the scene of "New American cinema" in the 1960s known as "the age of auteurs" and "the era of new art cinema." After his return to Korea in 1970, he proclaimed a "revolution" of Korean cinema in the name of "new generation, new cinema, and new spirit"with an "orphan consciousness" that denounced his father's generation. As manifested in his criticisms that compare An Aimless Bullet (YU Hyeon-mok, 1961) and Rashomon(Akira Kurosawa, 1950) or Korean cinema and Western cinema, HA's awareness of universalism and particularism is the point at which his internalized otherness and ambivalence of coloniality/postcoloniality are contradictorily revealed. Premised on lack due to his distanced observation as a student studying abroad, his understanding of Korean cinema and its history takes on a "doubled" and "diasporic" identity.
The Pollen of Flowers has not been properly understood, though it is a problematic film in the sense that it commingles the attempts at the cinema of poetry, instead of the cinema driven by narrative, with the disquieting madness in the Yushin [Revitalizing Reform] era (1972-1979). Despite its scandal derived from an accusation that it plagiarized Pasolini's Teorema(l968), the film exposes its rich meanings only through an intertexual, comparative study of Teorema, Lee Hyo-seok's original novel of the same title, and Kim Ki-young's The Housemaid series. The film's plentiful intertexuality, I would claim, is important in that it testifies to Rey Chow's arguments on the strategy of translation between two cultures-the translation as a cultural resistance, or the "transportation of visuality through media"beyond text-based translation. The film's portrayal of its protagonist, as confined in the "blue house"that symbolizes the prison-like reality of Korean society, is in this sense read as embodying an "inward exile" of young generation who resisted president Park Jeong-hee's political power in the 1970s.
Intimately connecting HA as critic-theorist to him as director, this essay focuses on his diasporic identity and concomitant issues of "reception" and "translation." Drawing on "cinema of poetry (pier Paolo Pasolini)," "photogenic," and "surrealism," all that HA considered as expressive of the essence of cinema throughout his writings, I will examine the ways in which he "imagined" a kind of cosmopolitan Korean cinema in dialogue with his contemporary current of international New Cinema. My object of analysis in this essay is The Pollen of Flowers(1972), his debut feature film in which his cinematic self-consciousness germinated and which HA himself called his masterpiece.
Influenced by Pasolini, Ingmar Bergman, and others, HA fostered his cinephiliac sensibility in the scene of "New American cinema" in the 1960s known as "the age of auteurs" and "the era of new art cinema." After his return to Korea in 1970, he proclaimed a "revolution" of Korean cinema in the name of "new generation, new cinema, and new spirit"with an "orphan consciousness" that denounced his father's generation. As manifested in his criticisms that compare An Aimless Bullet (YU Hyeon-mok, 1961) and Rashomon(Akira Kurosawa, 1950) or Korean cinema and Western cinema, HA's awareness of universalism and particularism is the point at which his internalized otherness and ambivalence of coloniality/postcoloniality are contradictorily revealed. Premised on lack due to his distanced observation as a student studying abroad, his understanding of Korean cinema and its history takes on a "doubled" and "diasporic" identity.
The Pollen of Flowers has not been properly understood, though it is a problematic film in the sense that it commingles the attempts at the cinema of poetry, instead of the cinema driven by narrative, with the disquieting madness in the Yushin [Revitalizing Reform] era (1972-1979). Despite its scandal derived from an accusation that it plagiarized Pasolini's Teorema(l968), the film exposes its rich meanings only through an intertexual, comparative study of Teorema, Lee Hyo-seok's original novel of the same title, and Kim Ki-young's The Housemaid series. The film's plentiful intertexuality, I would claim, is important in that it testifies to Rey Chow's arguments on the strategy of translation between two cultures-the translation as a cultural resistance, or the "transportation of visuality through media"beyond text-based translation. The film's portrayal of its protagonist, as confined in the "blue house"that symbolizes the prison-like reality of Korean society, is in this sense read as embodying an "inward exile" of young generation who resisted president Park Jeong-hee's political power in the 1970s.
목차
1. 들어가며
2. 수용과 번역의 문화정치학: 이효석 〈화분〉▶하길종 〈화분〉◀파졸리니 〈테오레마〉
3. 하길종의 ‘상상적’ 뉴 시네마: 시적 영화와 포토제니
4. 〈화분〉의 자기 반영성과 ‘내적 망명’
5. 결론
참고문헌
Abstract
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
혁명, 역사 그리고 에이젠슈테인
영화연구
1999 .08
-
중국영화의 국적성 혹은 지역성과 역사·문화정치학
영화연구
2008 .12
-
북한 영화 국제교류 현황 조사연구
영상기술연구
2019 .12
-
초창기 일본영화사에 대한 관점의 시대별 특징 고찰 -1950년대부터 2000년대까지의 일본영화사 관련 주요서적을 중심으로-
현대영화연구
2008 .01
-
중일전쟁 이후 식민지 조선에서의 영화 법령과 조직의 특징적 양상 (1937~1941) : ‘과정’과 ‘관계’를 중심으로 일제말기 한국영화사 다시 보기
현대영화연구
2012 .01
-
한국 영화에서 작가(주의) 담론의 역할에 대한 연구 : 코리언 뉴웨이브와 최근 한국 영화를 중심으로
영화연구
2004 .12
-
문학과 만나는 영화의 한 방식 : 영화 <러시안 소설>을 중심으로
영화연구
2014 .09
-
미디어 융합 환경속에서의 디지털시네마(D-Cinema)
한국디자인학회 국제학술대회 논문집
2006 .10
-
영화국가 만들기 : 「영화예술론」을 중심으로 한 사회주의 영화미학에 대한 고찰
영화연구
2011 .06
-
『중국영화발전사』를 넘어서 : 중국영화사 기술이 직면한 몇 가지 의제
영화중국
2014 .12
-
감각운동도식을 넘어서기 위한 영화적 사유-파졸리니의 자유간접화법을 중심으로-
현대영화연구
2013 .01
-
Color and its relation to the female figure in the cinema
AIC 2017 Jeju
2017 .10
-
영화 시장에서 3D 입체 영화의 시장 행위와 성과에 관한 연구
영화연구
2012 .12
-
Understanding of Globalization and Transnational Chinese Cinema : focused on the Example of UK and China Film Co-production treaty
영화중국
2014 .12
-
1960년대 일본 영화 연구 : 뉴웨이브를 중심으로
영화연구
2003 .12
-
영화치료의 기초 이론 연구
영화연구
2013 .09
-
매체융합시대의 비상업영화 : 비상업영화기구의 필요성 및 방향
영화연구
2009 .03
-
인터랙티브 시네마 환경의 매체적 특성비교
한국디자인학회 국제학술대회 논문집
2012 .05
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2010-600-002617744