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A Study on the Cinematic Reproduction of History-Memory in films through the 'Fantasy' Technique

  • The Journal of Korean drama and theatre
  • 2019, (66), pp.203-232
  • DOI : 10.17938/tjkdat.2019..66.203
  • Publisher : The Learned Society Of Korean Drama And Theatre
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : November 20, 2019
  • Accepted : December 18, 2019
  • Published : December 30, 2019

Hyunhwa Oh 1

1고려대학교

Accredited

ABSTRACT

As the memory of mankind, which is the basis of history, has recently changed from text to digital visual media, the formative structure and function are changing from 'repetition' to 'reconstruction'. This article examines aspects of film reproducing history-memory through director Jang Jun-hwan's Jigureul jikyeora(2003) and Jeon Gye-soo's Samgeori geukjang(2006), which reproduces the modern history of Korea through fantasy techniques. In addition, we looked at how the film represents history and its meaning, which is closer to the method of reconstruction of history than repetition. First of all, Jigureul jikyeora reproduces the opposite-memory by actively borrowing the subversive effect of 'fantasy', unlike the film that reproduces the history-memory. This work, which denounces the violence of modern subjects through the madness of Byeong-gu, embodies the subversive narrative of 'reality' turning into 'fantasy' by setting the reality of the lecturer as an alien. The 'fantasy' technique, through alien motifs, is intended to accuse the subject of violence against the other. And the use of these motifs creates counter-memory. On the other hand, Samgeori geukjang tells the story through the 'fantasy' narratives of President Woo Gi-nam and the spirits who are trapped in the theater. This work shows that history-memory is a medium that connects the past and the present, not a mere break or break with the past. This work changes the temporal status of the past by confirming that it has passed by on the one hand and presenting it at the same time. The last scene of the film, which suggests that the fantasy theater is still in operation even after the spirits of mourning have been made, means that history is not just a restoration of the past. It means that history in this work leads to the establishment of the present identity and the alternative-memory for the future.

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