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문학과 영상 update

The Journal of Literature and Film

  • : 문학과영상학회
  • : 인문과학분야  >  기타(인문과학)
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수록정보
수록범위 : 1권1호(2000)~23권2호(2022) |수록논문 수 : 614
문학과 영상
23권2호(2022년 09월) 수록논문
최근 권호 논문
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KCI등재

저자 : 권승태 ( Kwon Seungtae )

발행기관 : 문학과영상학회 간행물 : 문학과 영상 23권 2호 발행 연도 : 2022 페이지 : pp. 217-242 (26 pages)

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The purpose of this study is to examine the process of identity change in detail by introducing cases that borrowed the stories of foreign films but preserved the identity of Korean films. To this end, this study analyzes < Masquerade >, directed by Choo Chang-min, which borrowed the story of the Hollywood film < Dave > and utilizes Jean-Marie Floch's visual identity, and Paul Ricoeur's narrative identity concept as the methodology. As a result, the visual identity of < Masquerade > is in terms of expression, overall narrow and complex, a distributed form centered on curves, and a secret and static rhythm of dark and extravagant colors. Its visual identity in terms of content is a realistic, closed, hierarchical and family-oriented, premodern Way of a true King politics using violence as a means. The visual identity of < Dave > is in terms of expression, overall broad and simple and the focused form of straight lines and the fast and dynamic rhythm of bright and restrained colors. Its visual identity is in terms of content, an ideal and open modern democratic politics using persuasion as a means, in which equality and individuality are emphasized. Thereby the semantic function of correct politics is maintained from < Dave > to < Masquerade >, while the visual form is reversed. This is consistent with the interesting semiotic phenomenon that Levi-Strauss discovered while studying the mask culture of North America. The production team of < Masquerade > created a new faction historical drama by borrowing the story of Western democracy that was disconnected from the Korean old historical drama and reconnecting it with the tradition of Confucianism again. This is a reconnection with tradition after accommodating Hollywood's popular narratives, which can be seen as preserving oneself of identity for Korean films. In the end, the change of identity from < Dave > to < Masquerade > is a bricolage that finds accidental creation in the process of freely combining with internal traditions without being constrained by its original purpose while borrowing external cultural elements.

KCI등재

저자 : 정혜욱 ( Jeong Hae Ook )

발행기관 : 문학과영상학회 간행물 : 문학과 영상 23권 2호 발행 연도 : 2022 페이지 : pp. 243-269 (27 pages)

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Recent research on brain science has shown that the brain can not be considered as the nonsensuous commanding center of the body, devoted only to logical and cognitive processes, but it is closely related to the production of emotions, passions, and feelings. Based on Catherine Malabou's recent works including Self and Emotional Life, which has developed her conception of plasticity in relation to emotion studies on neuroscience, I try to compare 'emotions and feelings' studied on brain science, neurobiology, and neuroscience and 'affect', 'passion', and 'wonder' in philosophy. Then, I examine the concept of brain plasticity and the potential of subject to come, revisiting the notion of Cartesian pure auto-affection criticized by Damasio and Derrida. Finally, I critically examine how Malabou elaborates the possibilities of trans-subjectivation beyond quasi-hetero-affective subjectivity inherent to their views.

KCI등재

저자 : Hong Lu

발행기관 : 문학과영상학회 간행물 : 문학과 영상 23권 2호 발행 연도 : 2022 페이지 : pp. 271-301 (31 pages)

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This paper, by focusing on Jia Zhangke's two films Unknown Pleasures (2002) and The World (2004), explores the cinematic spaces on how they are mapped in representing heterogeneous temporalities experienced by the protagonists and their different modes of being. The following questions are to be answered in this paper: What were the historical contexts out of which these two films were defined and distinguished? How have the living spaces been rendered as immobile and under control, in both the literal and symbolic senses? The dynamic space thus is imbued with contradiction and tension developed from Unknown Pleasures to The World. The conclusion is that filmic spaces being portrayed by different temporalities cast fresh light on the minority of the migrant workers in post-socialist China, however insignificant they are, the films themselves challenge to foreground the minority group of people through public spaces, and firmly imprint them in public eyes.

KCI등재

저자 : Kim Hyejun

발행기관 : 문학과영상학회 간행물 : 문학과 영상 23권 2호 발행 연도 : 2022 페이지 : pp. 303-326 (24 pages)

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This paper examines the critique that Shaun of the Dead (2004) makes on the condition of mindless consumers under late capitalism by disrupting the zombie-human binary. Pivoting on Jonathan Crary's Suspension of Perception which scrutinizes the manipulation of subjects' attention as a site to exert power upon, I explore how the film satirically subverts the boundary of attentive human subjects and distracted zombies. In the first part of my paper, I explicate how attention has come to be formulated as a marker of one's coherent selfhood and show how Shaun of the Dead both expresses this notion and twists it through hyper-focalizing on the commodities through Shaun's perspective. The next part discusses the fundamental frailty of human attention in the age of late-capitalism which is often distracted by commodities and disintegrates with the passage of time. Lastly, by drawing upon the protagonists' visual absorption into media, I explain the way in which Shaun of the Dead critiques the mindless viewers that have become diverted from the crucial social issues at hand. By depicting how media subjugates Shaun as a mindless consumer, the film shows that the visual attention of contemporary subjects rather distracts them from their conscious and rational engagement with the world, which renders us as the undead and distracted zombie other.

KCI등재

저자 : Lee¸ Shinyoung

발행기관 : 문학과영상학회 간행물 : 문학과 영상 23권 2호 발행 연도 : 2022 페이지 : pp. 327-355 (29 pages)

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Although BlacKkKlansman (2018) could be further demarcated from traditional passing narratives thanks to Spike Lee's attempts of adding more diverse voices and sarcastic twists to the original plot, both the acclamatory and excoriating reviews seem limited to whether the film's depiction of the Black Diaspora (and passing) is politically correct. Clarifying that the experienced auteur succeeds in making it difficult for the audience to interpret BlacKkKlansman only in one way, I in this paper aim to appositely shed on light on the film's ambivalence by thoroughly analyzing Ron Stallworth's infiltration into the Ku Klux Klan mainly based on the conceptualizations of racial masquerade and affect alien.
Based on several sequences germane to the black protagonist's infiltration into the Klan through the collaboration with white sergeant Flip Zimmerman, BlaKkKlansman not only adroitly blurs the conventional boundary between racial masquerade and passing, but also associates the two concepts with what W. E. B. Du Bois refers to as “double consciousness.” Such analysis related to the visual aspects of the film as well as of black identity sheds light on the value of ambivalence implicit in the lived experiences of Black Diaspora as an antithesis to white epistemology disseminating the monolithic and distorted sense of blackness, which is discussed more profoundly in light of the idea of affect. This paper specifically explores several moments in which Ron becomes a doubled figure in relation to the conceptualization of affect alien, insinuating that the very double consciousness is what induces the protagonist and the audience to cast doubt on various dichotomies. Hence, I ultimately seek to suggest that BlacKkKlansman's ambivalence as a more complicated and metacinematic parody of the conventional passing narratives represents the coexistence of the dilemma and possibility of resistance against white epistemological limitation, associating the film with the highly contemporary meme, “Black lives matter more than white feelings.”

KCI등재

저자 : Yue Chen

발행기관 : 문학과영상학회 간행물 : 문학과 영상 23권 2호 발행 연도 : 2022 페이지 : pp. 357-384 (28 pages)

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With the flow of capital and the development of technology, migrant workers are spreading everywhere in the world with the hope of realizing a promising future. However, there is less and less opportunity for stability and for attaining good life, especially in the neo-liberal globalization. Drawing on Lauren Berlant's explication of people's attachment to compromised conditions of possibility which constitute the origin of “cruel optimism”, this paper deals with two most issues in migrant workers―their living conditions in the host country and interactions with locals. Through a case study of two Korean films He's on Duty and Where is Ronny? featured by their representation and narrative of migrant workers, it examines the configuration of migrant workers in these two Korean films around the year of 2010, and how their fantasy for a better life in more developed foreign countries is broken by local anti-foreigner Koreans and social hierarchy. Ultimately, it argues that by incorporating local Korean people into the life of migrant workers, migrant's optimism can become less cruel and multiracial hybridity becomes possible.

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