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.
이용수
초록· 키워드
오류제보하기
The Manchurian Western exemplified through The Good, The Bad, The Weird (2008) throws questions as to the organization of time and space in cinematic texts, opening up issues of the geopolitics of Korea. Replacing the American west typified in such films as The Stagecoach (1939) and Red River (1948) to symbolize the frontier on expansion, Machuria sheds its geographical confines and bcomes an imaginary space where the colonial past and the neo-liberal present of Korea collide. As a product of genre hybridization, the wilderness of Manchuria depicted in the film becomes un-grounded and uncertain to be a floating signifier free from the role of representing the real. Polysemous post-modern phenomenon has arrived on the locality to re-locate Manchuria on the map of power, capital, competition, sustainable reproduction and consumption pattern.
In this sense, the textual space of the post-modern flexibility is a reflection of neo-liberal capitalism which, according to David Harvey, reproduces itself through uneven geographical development where an absolute border between the nations yields to the imaginary sections divided to fit the need of the late capitalism. However, it does not mean that the text solely contributes to depicting the change in the geopolitics of Manchuria caused by the shift in economic infrastructure. As Scott Lash points, postmodernism is figural as well, demanding psychological energy rather than intelligent signification to forestall its close link with the economy. It means that the Manchuria connects to the past of dictatorial development of industrialization in the 1960 in Korea, on the basis of analogy that works in the realm of psychological energy, since it was also a backdrop of the films categorized as a genre simply known as the Continental genre. The Manchuria explodes to become an analogical metaphor of the forced development, repression, and the marginalized identities. In the end, it holds back the Manchuria as a space imagined for the need of the late capitalism. The post-modern text is two folds, one reflecting the demand of the economic infrastructure, and the other exploding to become a metaphor, which compete, rather than co-exist in harmony, to dominate the text.
목차
등록된 정보가 없습니다.
참고문헌 (31)
참고문헌 신청
Herod, Andrew / 1997 / From a Geography of Labor to a Labor Geography: Labor’s Spatial Fix and the Geography of Capitalism / Antipode 29 (1) : 10 ~
곽은희 / 2005 / 만몽문화(滿蒙文化)의 친일적 해석과 제국 국민의 창출 / 한민족어문학(구 영남어문학) (47) : 243 ~ 278
김소영 / 2009 / 지정학적 판타지와 상상의 공동체: 냉전시기 대륙(만주) 활극 영화, In 아시아 영화의 근대성과 지정학적 미학 / 현실문화연구
김영일 / 2011 / 남자, 몸, 폭력 그리고 이산(離散)정체성의 정치학 / 영화연구 (50) : 79 ~ 109
김재용 / 2005 / 내선일체의 연장으로서의 만주국 인식-장혁주의 행복한 백성을 중심으로 / 한국근대문학연구 (11) : 308 ~ 325
곽은희 / 2005 / 만몽문화(滿蒙文化)의 친일적 해석과 제국 국민의 창출 / 한민족어문학(구 영남어문학) (47) : 243 ~ 278
김소영 / 2009 / 지정학적 판타지와 상상의 공동체: 냉전시기 대륙(만주) 활극 영화, In 아시아 영화의 근대성과 지정학적 미학 / 현실문화연구
김영일 / 2011 / 남자, 몸, 폭력 그리고 이산(離散)정체성의 정치학 / 영화연구 (50) : 79 ~ 109
김재용 / 2005 / 내선일체의 연장으로서의 만주국 인식-장혁주의 행복한 백성을 중심으로 / 한국근대문학연구 (11) : 308 ~ 325
이 논문의 저자 정보
최근 본 자료
댓글(0)
0