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
Trauma is a phenomenon reconstructed through a medium such as cinema rather than an empirically existing event. This is to say that a theoretical concern of trauma cinema should move from representation of trauma to how trauma is produced. The insistence on whether cinema can represent truth of trauma, like other theories of realism, can limit interpretation of trauma in specific historical moments of traumatic events, while ignoring its political consequences ramifications. The aim of this research is to study organized crime movies in 2000s from the point of view of trauma cinema that takes into account trauma cinema as a way of constructing meaning of trauma, and to analyze how depiction of violence in such crime movies are processing trauma of IMF crisis only to produce political ideology regarding masculinity.
Violence in the organized crime movies puts male bodies at the centre stage but not in a way to restore a traditional type of masculinity but only to produce flexible subject that is exposed to the gaze of others thus in a constant state of narcissism and forced self introspection. In Mean Streets(2006), Sang-doo, the main character, exerts violence at the same is a victim of institutional violence, caught up in the loop of violence that is emanating from and asserted upon him. Yet his body is smooth, muscular, and attracting the gaze to be a moving force of the plot predicated upon an aspiration of a man with a meagre background to become visible therefore successful. What is more important is that his body is a part of the network of power that facilitates domination and subjugation. His body being at the giving and receiving end of violence is an essential element of power relations. His undetermined position in relations to violence works to make power flow from one end to the other.
The undetermined and flexible body, a part of new power relations, signifies an emergence of subjectivity that Neo-liberalism refutes to honor contract between labor and capital and life-time employment. The body that can adjust itself in relations to power represents subject that has to navigate the uncertain territory of labor market that is open to competition without protection from contractual agreement by government and business. The organized crimes movies in the 2000s such Mean Street and Bloody Tie starts with wounded and violated men as a symptom of traumatic experience of IMF crisis, but end up constructing new subjectivity required for Neo-liberalist economic and market environment, that is, flexible without determined positions and class identity ascribed to them by the state.
Violence in the organized crime movies puts male bodies at the centre stage but not in a way to restore a traditional type of masculinity but only to produce flexible subject that is exposed to the gaze of others thus in a constant state of narcissism and forced self introspection. In Mean Streets(2006), Sang-doo, the main character, exerts violence at the same is a victim of institutional violence, caught up in the loop of violence that is emanating from and asserted upon him. Yet his body is smooth, muscular, and attracting the gaze to be a moving force of the plot predicated upon an aspiration of a man with a meagre background to become visible therefore successful. What is more important is that his body is a part of the network of power that facilitates domination and subjugation. His body being at the giving and receiving end of violence is an essential element of power relations. His undetermined position in relations to violence works to make power flow from one end to the other.
The undetermined and flexible body, a part of new power relations, signifies an emergence of subjectivity that Neo-liberalism refutes to honor contract between labor and capital and life-time employment. The body that can adjust itself in relations to power represents subject that has to navigate the uncertain territory of labor market that is open to competition without protection from contractual agreement by government and business. The organized crimes movies in the 2000s such Mean Street and Bloody Tie starts with wounded and violated men as a symptom of traumatic experience of IMF crisis, but end up constructing new subjectivity required for Neo-liberalist economic and market environment, that is, flexible without determined positions and class identity ascribed to them by the state.
목차
국문요약
1. 서론
2. 조폭 영화의 폭력, 남성성 그리고 IMF 트라우마 – <비열한 거리>
3. 트라우마의 정치적, 문화적 좌표
4. IMF 트라우마와 폭력, 남성성의 위치
5. 조폭영화와 트라우마의 정치경제학 - <사생결단>
6. 결론
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2017-688-001908622