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The Cine-poetic Features in Kim Jong Sam's Poetry and their meaning

  • International Journal of Glocal Language and Literary Studies(약칭: IGLL)
  • Abbr : IGLL
  • 2023, (14), pp.167~205
  • DOI : 10.23073/riks.2023..14.006
  • Publisher : Glocal Institute of Language and Literary Studies(GILLS)
  • Research Area : Humanities > Other Humanities
  • Received : September 15, 2023
  • Accepted : October 15, 2023
  • Published : October 31, 2023

Shin Cheolgyu 1

1조선대학교

Accredited

ABSTRACT

This paper examines the cine-poetic features in Kim Jong-sam's poetry and their meaning, focusing on montage, a cinematic technique. Th e contemplative and discontinuous images in his poems are in contact with cine-poetic features. Cine-poem, centered on the presentation of images that occur in a place where internal feelings and external objects meet delicately and intimately, is eventually operated by arranging images. For this discussion, we looked at Kim Jong-sam’s poems, which were closely related to the montage technique of the film. Movies and poetry show a similar structure in that they utilize a technique that juxtaposes images. It is possible that “editing” is connected with the overall shape of the poem, and “collage” is connected with the arrangement of lines and stanzas, which is effective in creating dramatic composition and tension. Kim Jong-sam’s poem actively utilized the techniques of contrast and ellipsis through these montage. In the “Twelve-scale Flight of Steps” and “Wrinkled Marble,” they concentrated on maximizing the wavelength of the image and implicitly conveying the meaning of the landscape through sudden collisions of the image. In the “Auschwitz” series, the effects of “contrast” and “surprise” were brought through screen division and close-up techniques. Th ere are also “Cheyenne” poems that seek a way to imply a tragic fate that involves loss and wandering due to death by cross-editing the parallels of past and present or two events. Th e connection and overlap of these images or events are in line with Cine-poem pursued by Kim Jong-sam. He tried to capture images that contained the overlapping of various curves of life and the “wrinkle of time,” and delicately utilized the movie’s montage technique to effectively express it. If such a montage is defined in a word, it can be called “ironic montage.” This is related to Kim Jong-sam’s attitude to writing poetry, which seeks the effect of minimizing the referentiality of language and maximizing the uncertainty of meaning.

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