Unyoung Park

This paper delves into the analysis of the ways in which Korean blockbuster films, often classified as conservative and progressive, such as Ode to My Father and Taxi Driver respectively, remember histories. Ode to My Father, deemed a conservative film among domestic blockbusters with over ten million viewers, commemorates the economic miracle achieved by the generation of ‘fathers.’ It remembers the economic achievements of the previous generation with a nostalgic spirit by the protagonist’s longing for his father, and thus can be characterized as ‘monumental.’ On the contrary, Taxi Driver, categorized as a progressive film, remembers the May 1980 Gwangju Democratization Movement with a mournful spirit, commemorating the sacrifices of the victims by the violence of the state, and thus can be characterized as ‘memorial.’
This paper classifies ten-million-viewer films as ‘nostalgia films,’ a term explained by Frederic Jameson as one of the prominent symptoms of late capitalism. This classification helps elucidate the conservative characteristic prevalent in blockbuster films. Besides, through the operation of Linda Hutcheon’s ‘nostalgia,’ and Sigmund Freud’s ‘screen memory,’ this paper explores how the films unveil the traumas concealed in the unconscious of the filmic text. By examining the characteristics of the cinematic screen and the mechanisms of ‘nostalgia’ and ‘screen memory,’ this paper aims to reveal the repressed and reserved traumas in the unconscious of Ode to My Father and Taxi Driver.

Focusing on the relationship between remembering and identity, this paper analyzes the film Almanya – Willkommen in Deutschland, which deals with the identity issues of three generations of Turkish-German immigrants. The film is based on the director Yasemin Şamdereli’s own family story, who belongs to the third generation of Turkish-German immigrants. The film depicts the migration history of the Hüseyin Yilmaz family, who integrated well into German society and created new identities at a time when prejudice and bias against Turks reached their peak in German society due to the ‘Sarrazin Dispute.’ With this film in which the grandparents’ migration story is remembered anew by the grandchildren, this paper explores how the collective memory related to migration, which has existed in a vacuum in German society, is reexamined in a historical context. To this end, this paper gives an overview of the Turkish-German film history up to the third generation since Şamdereli is classified as the third generation of Turkish-German filmmakers, and based on this, the identity problem of the three generations revealed in the film is analyzed. In addition, this paper discusses that the third generation of migration can be called the generation of the postmigration who no longer has direct migration experience. Thus, this generation remembers the migration experience of the first generation in the form of postmemory.

Minari is a film produced in the United States by American law with the capital of an American production company and mostly American staff and cast. However, the film is based on the director Lee Isaac Chung’s childhood memory about his parents’ settlement story in America and uses Korean for most of the film since Chung is a 1.5 generation of Korean-American immigrants. Only because the main language of the film is Korean, the Golden Globe nominated it for the Foreign Language Film Award, which caused disputes about the nationality of the film and racial discrimination in the US. It has been argued that Minari shows Americanness even though it mostly uses the Korean language. In particular, Minari adopts the Western genre for its narrative structure and image which is regarded as the most Americanized film genre and related to the early history of the US.
Along with the dispute about the nationality of the film, this essay pays attention to the fact that Minari is generally reviewed as a universal story of a family struggling in a foreign land for its settlement. To analyze this, this essay proves “the language of the heart” introduced by the director Chung himself as the language of Minari while comparing the filming process to the writing characteristics of Walter Benjamin for One-way Street (1928) and Childhood around 1900 (1950).
The collective character of film production is significant. In addition, Chung is a director who values his cast and staff highly as his collaborators providing them with creative freedom. As a result, his personal childhood memory transforms into a collective history of a generation. On top of that, the narrative structure and image of the Western genre in the film encourage American spectators to compare the specific history of the 1980s in the US with the early American history marked as the pioneer period.
In this context, it can be said that Minari adopts the Western genre to make the spectator reconsider a multicultural society as the national identity and the pioneer spirit as the national character of the United States on the one hand and on the other, to provide fundamental information about the internal segmentation of American society today. Furthermore, Minari is a film describing the Minari-like life of Soonja, the grandmother of David, whose gaze is identical to the spectator. This adds film aesthetically an aspect of a fairy tale or fable and offers hope and love to the spectator. Therefore, it can be insisted that the dispute about Minari signals a demand to recognize the film as an American film not only for the economic and industrial category but also for the ethnic one. Such demand indeed implies a brand new change in the multicultural society of the US.

German society had been divided into capitalism and socialism after the Second World War but was reunited as a nation centered on blood after the fall of the Berlin Wall and reunification. This was accompanied by a phenomenon in which migrants of different lineages were excluded from this society. Furthermore, as the society experienced economic slumps and the unemployment rate increased, hostility and hatred toward migrants arose, which led even to terrorism targeting foreigners. As terrorism against Turks, who hold a high percentage of German society and have a different cultural background, was increasing, Turkish migrant writers, too, rose their voices through their works.
Zafer Şenocak’s Perilous Kinship, published in 1998, is also a novel written in response to these times and social situations. However, while other German-Turkish writers develop their stories within the structure of the ‘Literatur der Betroffenheit’, Şenocak mixes it with the ‘Vaterliteratur’, which can be said to be a typical German post-1945 literary genre and transforms it into the ‘Großvaterliteratur’. In addition, Sascha, the main character of the novel in which the author Şenocak is projected, utilizes ‘postmemory’ creatively and constructively to write a novel, creating an absent memory through his writing. Through this, the hidden and forgotten German-Turkish-Jewish history is newly revealed, and the kinship between the Turks－considered “eternal strangers” in German society－and the Germans is confirmed.

Das Kino ist ein Ort, in dem das Kindliche vorausgesetzt und reaktiviert wird: kindlicher Glaube, kindlicher Wunsch und kindliche Ängste. Darum ist das Kino im freud'schen Sinne ein unheimlicher Ort par exellence, vor allem weil dort die Doppelgänger des Lebens erfahren werden, nämlich die Filme. Doppelgänger bezeichnet zwar ein aus narzisstischem Verhältnis entstandenes Spiegelbild, das aber im Laufe der Zeit zum Schattenbild wird, das uns dann an dem Tod erinnert. Das Kino bietet aus diesem Grund einen Möglichkeitsraum, in dem unser altes Ich sterben und neues Bewusstsein gewonnen werden kann, und zwar so wie die lacan'sche Trias den Heilungsprozess erklärt: durch den narzisstischen bzw. imaginären und symbolischen Tod, gelangt das Subjekt zum Realen, wo es sich seine eigene Realität erschafft. Die vorliegende Studie befasst sich mit Stanley Kubricks letztem Film Eyes Wide Shut als Metafilm, der filmisches Sehen räumlich repräsentiert. Der Film wurde von Arthur Schnitzlers...

William Shakespeare is one of the best-known authors in the world, yet, his authorship has been continually questioned since the Victorian period. The Shakespeare authorship question is mainly influenced by the romantic notion of the author, who was later sentenced to death by the poststructuralists like Roland Barthes and Michel Foucault. With the death of the author, the importance of the recipient has been acknowledged, and postmodern adaptation has been found in wide applications. Since then, the former recipient has become the author while adapting original texts. In the new millennium, the postmodern adaptation of Shakespeare has been booming particularly in Asian Shakespeare reception.
In this context, it is significant that creating the Bard on-screen was also attempted right before the new millennium. Shakespeare in Love (1998) is a romantic comedy, which depicts Shakespeare’s imaginary love affair. In the center of the film, there is Romeo and Juliet (1597), one of Shakespeare’s most popular plays during his lifetime. The film portrays his love affair while he was writing Romeo and Juliet. As a result, the playwriting intertwined with his love affair, and this is exactly what the audience wants to see the author of Romeo and Juliet on screen. Along with numerous accolades, the positive reviews from critics as well as the box office success confirmed it.
This paper elucidates that the Renaissance English theatre man Shakespeare has been adapted to Hollywood’s auteur in the late capitalism in Shakespeare in Love. This occurs in two levels; in the diegetic world of the movie, Viola—corresponding to Juliet in Shakespeare’s play—embodies the ideal reader who loves Shakespeare’s works passionately and further, inspires Will to continue to write and makes him a free writer in the end. In the extradiegetic world, since the makers of this movie are Shakespeare lovers like Viola, they have parodied Shakespeare’s life and used pastiche with his oeuvre and thus, created an intimate and charming Shakespeare on screen. This created Shakespeare is attributed more with the characteristics of the auteur, and this postmodern adaptation contributes to an expanded understanding of Shakespeare’s story world.

Diese Studie analysiert E. T. A. Hoffmanns Sandmann, den Sigmund Freud für das Herzstück seiner Untersuchung über das Unheimliche behandelt hat. Die Faszination am Sandmann liegt darin begründet, dass diese Erzählung verschiedene Interpretationsmöglichkeiten bietet. Freud zufolge symbolisiert die Titelfigur Sandmann 1) den dämonisierten Vater, der 2) mit dem bösen Advokat Coppelius in der diegetischen Welt gleichgesetzt ist. Diese Studie schließt sich zwar Freuds erster Ansicht an, wenngleich sie sich von der zweiten distanziert. Diese Aspekte werden medientheoretisch analysiert, indem auf die Beziehungen zwischen dem Sandmann, dem Protagonisten Nathanael und dem Erzähler der Geschichte eingegangen wird. Hervorzuheben ist, dass der Sandmann dazu verhilft, die Oralität der Geschichte zur Literalität zu führen, während Nathanael und der Erzähler sich hierbei um die Umkehrung bemühen. Ferner steht der Sandmann für das ästhetische Prinzip in der Erzählung, indem er den Kindern ihre äußeren Augen raubt, damit sie das Gebilde mit den inneren Augen sehen können; genauso wie das Perspektiv, das den Betrachter sein Inneres widergespiegelt sehen lässt. Auf diese Weise thematisiert Der Sandmann die sinnliche Verwirrung zur Zeit der medialen Übergangsphase, die durch den Zusammenstoß zwischen der Aufklärung und der Romantik verursacht wurde. Der Sandmann dient mit seinen vielfältigen Interpretationsmöglichkeiten als Musterbeispiel, das im Sinne Friedrich Schlegels “noch im Werden” ist, bei dem es sich sowohl der Form als auch dem Inhalt nach um eine Dichtung über die Dichtung handelt. Somit kann die weitere Behauptung aufgestellt werden, dass Der Sandmann die “progressive Universalpoesie” ebenfalls im Sinne Friedrich Schlegels repräsentiert.

This paper analyzes the use of music in Stanley Kubrick’s final work Eyes Wide Shut (1999) and examines the relationship between music and narrative. Music and narrative in Eyes Wide Shut are completely intertwined and confuse the audience between the diegetic and the non-diegetic of the filmic world. In the film, it is noteworthy that Nick Nightingale, the protagonist Bill’s former fellow student is a musician and he seduces Bill to an orgy. To date, most research on Eyes Wide Shut has focused either on its literature adaptation or on the content of the film music. By contrast, this paper targets the form of music use in the film. Combining “le grand imagier” by Albert Laffay with the apparatus theory by Jean-Louis Baudry, this paper investigates the primitive filmic narrator and compares it to the narrator in literature. Significantly, Kubrick juxtaposed not only classic music with popular one, but also vocal music with instrumental one in Eyes Wide Shut. In addition, he applied both original and preexisting music to the film. By doing this, he created a cinema which blurs the boundary between the diegetic and the non-diegetic and provides the audience with a daydreaming experience. If Kubrick innovated cinema experience with 2001: A Space Odyssey (1968) by applying classic music to his visual, in Eyes Wide Shut, he developed a cinematic narrative form further from the tradition of literature and early cinema, for which music plays an active as well as significant role.

Diese Studie analysiert E. T. A. Hoffmanns Sandmann, den Sigmund Freud für das Herzstück seiner Untersuchung über das Unheimliche behandelt hat. Die Faszination am Sandmann liegt darin begründet, dass diese Erzählung verschiedene Interpretationsmöglichkeiten bietet. Freud zufolge symbolisiert die Titelfigur Sandmann 1) den dämonisierten Vater, der 2) mit dem bösen Advokat Coppelius in der diegetischen Welt gleichgesetzt ist. Diese Studie schließt sich zwar Freuds erster Ansicht an, wenngleich sie sich von der zweiten distanziert. Diese Aspekte werden medientheoretisch analysiert, indem auf die Beziehungen zwischen dem Sandmann, dem Protagonisten Nathanael und dem Erzähler der Geschichte eingegangen wird. Hervorzuheben ist, dass der Sandmann dazu verhilft, die Oralität der Geschichte zur Literalität zu führen, während Nathanael und der Erzähler sich hierbei um die Umkehrung bemühen. Ferner steht der Sandmann für das ästhetische Prinzip in der Erzählung, indem er den Kindern ihre äußeren Augen raubt, damit sie das Gebilde mit den inneren Augen sehen können; genauso wie das Perspektiv, das den Betrachter sein Inneres widergespiegelt sehen lässt. Auf diese Weise thematisiert Der Sandmann die sinnliche Verwirrung zur Zeit der medialen Übergangsphase, die durch den Zusammenstoß zwischen der Aufklärung und der Romantik verursacht wurde. Der Sandmann dient mit seinen vielfältigen Interpretationsmöglichkeiten als Musterbeispiel, das im Sinne Friedrich Schlegels “noch im Werden” ist, bei dem es sich sowohl der Form als auch dem Inhalt nach um eine Dichtung über die Dichtung handelt. Somit kann die weitere Behauptung aufgestellt werden, dass Der Sandmann die “progressive Universalpoesie” ebenfalls im Sinne Friedrich Schlegels repräsentiert.

This paper analyzes the use of music in Stanley Kubrick’s final work Eyes Wide Shut (1999) and examines the relationship between music and narrative. Music and narrative in Eyes Wide Shut are completely intertwined and confuse the audience between the diegetic and the non-diegetic of the filmic world. In the film, it is noteworthy that Nick Nightingale, the protagonist Bill’s former fellow student is a musician and he seduces Bill to an orgy. To date, most research on Eyes Wide Shut has focused either on its literature adaptation or on the content of the film music. By contrast, this paper targets the form of music use in the film.
  Combining “le grand imagier” by Albert Laffay with the apparatus theory by Jean-Louis Baudry, this paper investigates the primitive filmic narrator and compares it to the narrator in literature. Significantly, Kubrick juxtaposed not only classic music with popular one, but also vocal music with instrumental one in Eyes Wide Shut. In addition, he applied both original and preexisting music to the film. By doing this, he created a cinema which blurs the boundary between the diegetic and the non-diegetic and provides the audience with a daydreaming experience. If Kubrick innovated cinema experience with 2001: A Space Odyssey (1968) by applying classic music to his visual, in Eyes Wide Shut, he developed a cinematic narrative form further from the tradition of literature and early cinema, for which music plays an active as well as significant role.

본고는 프로이트의 「언캐니」를 다시 읽으면서 “언캐니”의 의미를 다시 고찰하고, 국문 번역에 나타나는 몇 가지 중요한 오역을 수정하고 있다. “두려운 낯설음”이라는 국내 번역은 옌치의 정의만을 고려하고 있지만, 프로이트가 말하는 언캐니는 오래전부터 알고 있던 친숙한 감정인 모태 회귀 욕망이 초자아의 등장으로 자아에게 두려움으로 변형되어 느껴지는 감정을 말한다. 이를 증명하기 위해서 본고는 독일어 unheimlich의 어원학적 연구를 정신 분석학과 연관 지어 설명한 프로이트의 논증 과정을 재구성하고 있다.
또한, 프로이트의 논문은 뚜렷한 논리 구조를 가지고 언캐니를 설명하지만, 독자에게 오히려 언캐니한 감정을 불러일으키는 독특한 논문이라고 할 수 있다. 그 이유를 본고는 프로이트의 방법론과 수사법에서 찾고 있다. 언캐니한 감정을 쉽게 느낄 수 있는 경우는 자아가 분열되고 뒤바뀌면서 중복되는 현상인 도플갱어 현상을 경험하는 경우라고 프로이트는 설명했는데, 바로 자아(ich/I)를 분열하여 뒤바뀌고(er/he) 이를 다시 중복시키는(wir/we) 수사법을 프로이트가 논문에서 사용하고 있기 때문이다. 그 결과, 프로이트의 「언캐니」는 과학적 연구논문과 예술적 창작 작품 사이를 종횡하는 언캐니한 글이 되고 있음을 본고는 밝히고 있다.
더 나아가, 본고는 프로이트가 저자의 지적 감수성이라는 보다 포스트 모던한 방법론을 사용하고도 있다는 사실에 주목한다. 지적 감수성이란 감정이입을 통한 공감 능력을 말하며, 이는 미적 체험에서 특히나 중요한 역할을 한다. 따라서 프로이트는 언캐니의 대가 에.테.아. 호프만의 『모래 사나이』를 연구의 중심에 놓고 있기도 하다. 본고는 미적 체험이 어린 아이와 원시인 그리고 신경증 환자의 체험을 아우르는 체험을 제공한다는 사실을 프로이트의 「작가와 몽상」과 『토템과 터부』를 바탕으로 설명하고, 더 나아가 이렇게 모든 체험을 아울러 설명할 수 있는 정신 분석학이 무엇보다도 언캐니하다는 사실을 프로이트의 논증을 바탕으로 밝혀내고 있다.
어디선가 본 듯하고, 어쩐지 친숙한 듯도 하지만 동시에 불쾌하고 두렵게 만드는 언캐니한 감정은 경계가 불분명할 때 느껴지는 감정이다. 하지만 이 감정이 어린 아이와 원시인 그리고 신경증 환자의 정신세계에서 출발한다는 사실은 역으로 불분명한 경계가 확장될 수 있는 계기를 바로 언캐니한 감정이 마련한다고 이해할 수 있다. 어린 아이와 원시인 그리고 신경증 환자의 정신세계는 애니미즘과 생각의 전능성의 지배를 받는 철저히 나르시시즘적인 세계이므로, 이때 타자로 간주되는 것은 사실은 자아의 도플갱어를 상징하기 때문이다. 또한, 디지털 시대를 질주하는 오늘날 언캐니 개념은 다양한 학제 간 연구에서 특히나 유용하게 연구, 적용되고 있다. 디지털 세계에서는 무엇보다도 도플갱어가 다시 활성화되고 있다는 점에서 언캐니한 경험이 증가하기 때문일 것이다. 이러한 상황을 배경으로 본고는 좀 더 정확한 언캐니 개념의 이해를 돕고자 한다.

본 논문은 스탠리 큐브릭의 유작 <아이즈 와이드 셧>이 거세공포를 다루고 있음을 밝히고 있다. <아이즈 와이드 셧>은 모든 조건을 충족시킴에도 관객에게 시각적 쾌락을 선사하지 않는데, 본 논문은 그 이유를 거세공포에서 찾고 있다. 거세공포란, 멀비에 따르면, 여성의 신체를 대상화하면서 시각적 쾌락을 추구하는 남성의 심리 뒷면에 감춰져 있는 두려움을 말한다. 또한, 프로이트는 거세공포를 이드의 욕망을 감지하는 자아가 초자아로부터 받게 되는 위협이라고 설명하면서 눈의 상실을 상징적인 거세로 해석한다.
거세공포를 중심으로 본 논문은 <아이즈 와이드 셧>의 시선과 공간구조를 분석하고 있다. 영화의 주인공 빌은 보고도 알지 못하고 아이처럼 수동적인 모습으로 그려지는데, 이는 빌이 거세된 눈을 상징하는 가면의 눈을 가지고 있기 때문이다. 거세된 눈을 가진 빌은 아내를 중심으로 모든 여성을 대상화하고 물화시키며, 관객은 이런 빌과 동일시되어 있다. 바로 카메라를 통해서 이러한 동일시는 이루어진다. 주목해야 할 점은 감시하고 통제하는 초자아의 시선이 감시카메라로 상징되어 영화에 등장한다는 사실이다. 또한, 영화는 현실과 허구가 혼합되어 꿈을 꾸는 듯한 공간을 만들어내는데, 이는 주인공의 의식구조와 연관되어 있다.
이러한 분석을 통해서 본 논문은 <아이즈 와이드 셧>을 메타 시네마로 규정한다. 영화에는 현실과 허구가 교묘히 혼합되어 있고, 영화보기가 욕망의 코드로 표현되어 있으며, 큐브릭 이름이 뚜렷이 각인되어 있다. 따라서 영화는 끊임없이 영화보기와 영화매체 그리고 영화가 소비되는 극장에 대해서 질문을 던진다. 더 나아가, 관객에게 꿈을 체험시키는 듯한 영화는 아이러니하게도 거세위협을 하면서 꿈에서 깨어날 것을 종용하고도 있다. 이런 이유에서 본 논문은 <아이즈 와이드 셧>을 진정한 의미의 메타 시네마라고 규정한다.

슈니츨러의 작품 중 가장 많이 읽히고 연구되는 󰡔꿈의 노벨레󰡕에서는 꿈과 현실의 경계가 아직도 독자를 혼란에 빠뜨린다. 따라서 본 논문은 ‘노벨레’와 ‘꿈’이라는 두 핵심어를 가지고 노벨레의 구조를 새롭게 분석하고자 한다. 제목부터 프로이트의 󰡔꿈의 해석󰡕을 연상시키는 슈니츨러의 작품은 노벨레라는 문학 장르를 통해서 독자에게 꿈을 체험시키는 특징을 가진다. 작품구조가 남성성의 상실이라는 위기에 처한 주인공의 의식구조를 반영하기 때문이다. 동시대에 여성의 억눌린 성욕이 프로이트의 연구로 발견됐다면, 󰡔꿈의 노벨레󰡕에는 가부장적인 이중 성도덕이 만연하던 오스트리아-헝가리 이중 제국의 멸망이 주인공의 의식이 붕괴되는 모습에 우회적으로 묘사되어 있다. 본 논문은 주인공의 의식구조와 밀접히 연결된 노벨레의 구조를 밝히고 과학과 예술의 관계를 살피면서, 매체로서의 문학에 대해 질문을 던져보고자 한다.

Das Kino ist ein Ort, in dem das Kindliche vorausgesetzt und reaktiviert wird: kindlicher Glaube, kindlicher Wunsch und kindliche Ängste. Darum ist das Kino im freud’schen Sinne ein unheimlicher Ort par exellence, vor allem weil dort die Doppelgänger des Lebens erfahren werden, nämlich die Filme. Doppelgänger bezeichnet zwar ein aus narzisstischem Verhältnis entstandenes Spiegelbild, das aber im Laufe der Zeit zum Schattenbild wird, das uns dann an dem Tod erinnert. Das Kino bietet aus diesem Grund einen Möglichkeitsraum, in dem unser altes Ich sterben und neues Bewusstsein gewonnen werden kann, und zwar so wie die lacan’sche Trias den Heilungsprozess erklärt: durch den narzisstischen bzw. imaginären und symbolischen Tod, gelangt das Subjekt zum Realen, wo es sich seine eigene Realität erschafft.
Die vorliegende Studie befasst sich mit Stanley Kubricks letztem Film Eyes Wide Shut als Metafilm, der filmisches Sehen räumlich repräsentiert. Der Film wurde von Arthur Schnitzlers Traumnovelle inspiriert, die die sexuelle Ambivalenz in einer glücklichen Ehe durchforstet und die geträumte Untreue der Ehefrau mit dem wirklichen Versuch des Ehemannes gleichsetzt. Der Film verweist zudem auf das Kindliche, einerseits indem der Protagonist als Stellvertreter des Zuschauenden agiert, der wiederum wie ein Kleinkind wirkt, und andererseits indem die Frauen wie Puppen erscheinen. Das Augenmerk der Arbeit richtet sich auf die Erzählsituation sowie auf die geschlechterspezifische Darstellung, wobei die Dreierbeziehung zwischen Kubrick, Eyes Wide Shut und den Zuschauenden mit dem Erzählschema von Gérard Genette untersucht wird. Mit Eyes Wide Shut schuf Kubrick außerdem ein Metakino, indem er die innerfilmische Struktur die außerfilmische widerspiegeln ließ.