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
After the war, the appearance of leftish Japanese (Jai-nichi) movie directors and their active working with expiating on suppression of Korean lead making a lot of movies which showed remorse of dominating Korea and represented negative view to the rounding-up of discrimination. But Japanese tend to evaluate those movies as reconstructing of minority in Japanese society.
We should understand those movies with different point of view. The appearance of Jai-nich was built on close relationship with social and historical circumstances at that time so it’s certain to come at it from another angle.
In this study, the Korean-Japanese film 〈Blood and Bones〉 is analyzed in different angle with Japanese view. This movie showed a history of first generation of Jai-nichi through a life of one man (Jun-Pyeong Kim).
The Jai-nichi narratives in movies were regarded as a mirror of a Japanese society in transition towards becoming a multiracial country; a fact which post-war Japanese society strove to ignore and eliminate. The presence of a Jai-nichi identity in film, which emerged from the Japanese occupation of Korea represented a unique viewpoint. This study took a skeptical look at this interpretation, and analyzed the protagonist, Jun-Pyeong Kim’s brutality in historical and social perspective.
The movie was separated to seven major sequences and analyzed to understand a structure and development of narrative. Greimas’ semiotic square model was used to grasp a diverse meaning of the narrative structure. The character’s acts were analyzed in social and political context and a relationship between Jun-Pyeon Kim and 3 other women became known as an important clue of analyzing Kim’s drastic brutality. So the study tried to find the origin of brutality applying that relationship into Greima’s actor model and Semiotic Square.
This study concludes that the brutality of the protagonist, Jun-Pyeong Kim in the film『Blood and Bones』came from Japan"s colonial rule of Korea. In other words, Kim’s several violent behaviors were symbolic of Jai-nichi who lived in the period of unstable and sudden changed imperialism of Japan and it was disclosed through this movie.
We should understand those movies with different point of view. The appearance of Jai-nich was built on close relationship with social and historical circumstances at that time so it’s certain to come at it from another angle.
In this study, the Korean-Japanese film 〈Blood and Bones〉 is analyzed in different angle with Japanese view. This movie showed a history of first generation of Jai-nichi through a life of one man (Jun-Pyeong Kim).
The Jai-nichi narratives in movies were regarded as a mirror of a Japanese society in transition towards becoming a multiracial country; a fact which post-war Japanese society strove to ignore and eliminate. The presence of a Jai-nichi identity in film, which emerged from the Japanese occupation of Korea represented a unique viewpoint. This study took a skeptical look at this interpretation, and analyzed the protagonist, Jun-Pyeong Kim’s brutality in historical and social perspective.
The movie was separated to seven major sequences and analyzed to understand a structure and development of narrative. Greimas’ semiotic square model was used to grasp a diverse meaning of the narrative structure. The character’s acts were analyzed in social and political context and a relationship between Jun-Pyeon Kim and 3 other women became known as an important clue of analyzing Kim’s drastic brutality. So the study tried to find the origin of brutality applying that relationship into Greima’s actor model and Semiotic Square.
This study concludes that the brutality of the protagonist, Jun-Pyeong Kim in the film『Blood and Bones』came from Japan"s colonial rule of Korea. In other words, Kim’s several violent behaviors were symbolic of Jai-nichi who lived in the period of unstable and sudden changed imperialism of Japan and it was disclosed through this movie.
목차
1. はじめに
2. ナラティブ構造分析：社?的?況を中心に
3. グレマスの記??モデル分析:俊平を取り?く三人の女性を中心に
4. まとめ
?考文?
要旨
참고문헌 (27)
참고문헌 신청
1. [학술지(정기간행물)] - 李南錦 / 2006 / 植民地の新女性と母性イデオロギーへの闘い：羅〔ケイ〕錫(ナ・ヘソク)の小説「瓊姫(キョンヒ)」と彼女の言説分析を通して」『お茶の水女子大学ジェンダー研究センター年報』9 お茶の水女子大学ジェンダー研究センター小野坂弘(1998)「物語の意義と構造(三) / 法政理論 19 (4) : 59 ~ 80
2. [단행본] - 金英達 / 1995 / 北朝鮮帰国事業関係資料集 / 新幹社 : 3 ~
3. [학술지(정기간행물)] - 金祗硯 / 2011 / 映画<血と骨>における「怪物的」な男とその女 / 文学研究論集 29 : 47 ~ 65
4. [보고서] - 崔洋一 / 1994 / 月はどっちに出ている 崔洋一の世界
5. [학술지(정기간행물)] - 崔洋一 / 2004 / 血と骨の世界』新幹社 pp.13-84 樋口淳(1989)「物語の意味論：怖がることを習いに出かけた若者の話をめぐって / 専修人文論集 44 : 1 ~ 28
2. [단행본] - 金英達 / 1995 / 北朝鮮帰国事業関係資料集 / 新幹社 : 3 ~
3. [학술지(정기간행물)] - 金祗硯 / 2011 / 映画<血と骨>における「怪物的」な男とその女 / 文学研究論集 29 : 47 ~ 65
4. [보고서] - 崔洋一 / 1994 / 月はどっちに出ている 崔洋一の世界
5. [학술지(정기간행물)] - 崔洋一 / 2004 / 血と骨の世界』新幹社 pp.13-84 樋口淳(1989)「物語の意味論：怖がることを習いに出かけた若者の話をめぐって / 専修人文論集 44 : 1 ~ 28
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