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
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 Dangmakgol 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.
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 Dangmakgol 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
참고문헌
Abstract
참고문헌 (34)
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UCI(KEPA) : I410-ECN-0101-2010-600-002466870