“뉴 시네마”를 번역하기 -하길종의 <화분>에 드러난 자기반영성과 문화정치학- (Translating “New Cinema” -Self-reflexivity and Cultural Politics in HA Kil-chong’s The Pollen of Flowers-)

서지정보

· 발행기관 : 한국영화학회
· 수록지 정보 : 영화연구 / 42호 / 487 ~ 512페이지
· 저자명 : 이선주

초록

Having passed away thirty years ago, director HA Kil-chong is a figure like a prism through which Korean cinema of the 1970s can be illuminated. However, previous studies on him have been devoted to mystified biographical estimations, or they have tended to position him as an exceptional director while failing to historically contextualize him within the tradition of auteurism or of realist discourses in Korean cinema. HA's symbolic legacy known as an omnidirectional "film fighter" in Korean cinema of the 1970s is important in terms of rewriting the history of Korean cinema not as a break between the heyday of Korean cinema in the 1960s and Korean New Wave of the 1980s, but as a "continuity" between them.
Intimately connecting HA as critic-theorist to him as director, this essay focuses on his diasporic identity and concomitant issues of "reception" and "translation." Drawing on "cinema of poetry (Pier Paolo Pasolini)," "photogénie," and "surrealism," all that HA considered as expressive of the essence of cinema throughout his writings, I will examine the ways in which he "imagined" a kind of cosmopolitan Korean cinema in dialogue with his contemporary current of international New Cinema. My object of analysis in this essay is The Pollen of Flowers(1972), his debut feature film in which his cinematic self-consciousness germinated and which HA himself called his masterpiece.
Influenced by Pasolini, Ingmar Bergman, and others, HA fostered his cinephiliac sensibility in the scene of "New American cinema" in the 1960s known as "the age of auteurs" and "the era of new art cinema." After his return to Korea in 1970, he proclaimed a "revolution" of Korean cinema in the name of "new generation, new cinema, and new spirit"with an "orphan consciousness" that denounced his father’s generation. As manifested in his criticisms that compare An Aimless Bullet (YU Hyeon-mok, 1961) and Rashomon(Akira Kurosawa, 1950) or Korean cinema and Western cinema, HA’s awareness of universalism and particularism is the point at which his internalized otherness and ambivalence of coloniality/postcoloniality are contradictorily revealed. Premised on lack due to his distanced observation as a student studying abroad, his understanding of Korean cinema and its history takes on a "doubled" and "diasporic" identity.
The Pollen of Flowers has not been properly understood, though it is a problematic film in the sense that it commingles the attempts at the cinema of poetry, instead of the cinema driven by narrative, with the disquieting madness in the Yushin [Revitalizing Reform] era (1972-1979). Despite its scandal derived from an accusation that it plagiarized Pasolini’s Teorema(1968), the film exposes its rich meanings only through an intertexual, comparative study of Teorema, Lee Hyo-seok’s original novel of the same title, and Kim Ki-young’s The Housemaid series. The film’s plentiful intertexuality, I would claim, is important in that it testifies to Rey Chow’s arguments on the strategy of translation between two cultures—the translation as a cultural resistance, or the "transportation of visuality through media"beyond text-based translation. The film’s portrayal of its protagonist, as confined in the "blue house"that symbolizes the prison-like reality of Korean society, is in this sense read as embodying an "inward exile" of young generation who resisted president Park Jeong-hee’s political power in the 1970s.

영어초록

Having passed away thirty years ago, director HA Kil-chong is a figure like a prism through which Korean cinema of the 1970s can be illuminated. However, previous studies on him have been devoted to mystified biographical estimations, or they have tended to position him as an exceptional director while failing to historically contextualize him within the tradition of auteurism or of realist discourses in Korean cinema. HA's symbolic legacy known as an omnidirectional "film fighter" in Korean cinema of the 1970s is important in terms of rewriting the history of Korean cinema not as a break between the heyday of Korean cinema in the 1960s and Korean New Wave of the 1980s, but as a "continuity" between them.
Intimately connecting HA as critic-theorist to him as director, this essay focuses on his diasporic identity and concomitant issues of "reception" and "translation." Drawing on "cinema of poetry (Pier Paolo Pasolini)," "photogénie," and "surrealism," all that HA considered as expressive of the essence of cinema throughout his writings, I will examine the ways in which he "imagined" a kind of cosmopolitan Korean cinema in dialogue with his contemporary current of international New Cinema. My object of analysis in this essay is The Pollen of Flowers(1972), his debut feature film in which his cinematic self-consciousness germinated and which HA himself called his masterpiece.
Influenced by Pasolini, Ingmar Bergman, and others, HA fostered his cinephiliac sensibility in the scene of "New American cinema" in the 1960s known as "the age of auteurs" and "the era of new art cinema." After his return to Korea in 1970, he proclaimed a "revolution" of Korean cinema in the name of "new generation, new cinema, and new spirit"with an "orphan consciousness" that denounced his father’s generation. As manifested in his criticisms that compare An Aimless Bullet (YU Hyeon-mok, 1961) and Rashomon(Akira Kurosawa, 1950) or Korean cinema and Western cinema, HA’s awareness of universalism and particularism is the point at which his internalized otherness and ambivalence of coloniality/postcoloniality are contradictorily revealed. Premised on lack due to his distanced observation as a student studying abroad, his understanding of Korean cinema and its history takes on a "doubled" and "diasporic" identity.
The Pollen of Flowers has not been properly understood, though it is a problematic film in the sense that it commingles the attempts at the cinema of poetry, instead of the cinema driven by narrative, with the disquieting madness in the Yushin [Revitalizing Reform] era (1972-1979). Despite its scandal derived from an accusation that it plagiarized Pasolini’s Teorema(1968), the film exposes its rich meanings only through an intertexual, comparative study of Teorema, Lee Hyo-seok’s original novel of the same title, and Kim Ki-young’s The Housemaid series. The film’s plentiful intertexuality, I would claim, is important in that it testifies to Rey Chow’s arguments on the strategy of translation between two cultures—the translation as a cultural resistance, or the "transportation of visuality through media"beyond text-based translation. The film’s portrayal of its protagonist, as confined in the "blue house"that symbolizes the prison-like reality of Korean society, is in this sense read as embodying an "inward exile" of young generation who resisted president Park Jeong-hee’s political power in the 1970s.

참고자료

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