표피성의 미학과 외설성: 영화 <디-워>(D-War)를 중심으로 (The Aesthetic of the Superficiality and the Obscenity: An Analysis of the Film D-War)

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초록

This paper analyzes the film D-War(Hyung-Rae Sim 2007) under the perspective of the aesthetic of the superficiality. The superficiality of the film is an aesthetic phenomenon, which results from the use of the new technology, CGI(computer graphic imagery). Fredric Jameson relates this new aesthetic to the new technology and the Late Capitalism. Since the 1980s, it has been the general tendency to produce films with the new digital technology. Therefore we can find today readily this aesthetic phenomenon in almost all films. But this essay deals specially with the film D-War, because it may show us the most among the Korean films today, what the superficiality, or the depthlessness is. In this film, we can find the superficiality at the level of the time, the space, and the affect. The space of the film is constructed like the hyperspace, which is characterized through the depthlessness and confusion. The time structure seems to be schizophrenic. It gives rise to the confusion and causes the lack of the narrative. And the affect of the characters in the film is substituted by the special effect. For that reason, the intensive light and the magic of the special effect stand in the foreground instead of the special affect of the human beings. It leads also to the depthlessness of the affect. We can observe this aesthetic phenomenon above all at the spectacle of these films. The spectacle becomes nowadays the object of the sublime and the enjoyment, or jouissance. But at the same time, the aesthetic of the spectacle has the obscene character, because the spectacle substitutes the narrative and the figures of the film for the intensity of the technological ability and then it captivates spectators, so that they cannot but enjoy it without resistance against it, as is usually the case with the pornography. Today, we can find readily this tendency, when we watch the films, which are produced by the great capital not only in the USA but also in Korea.

영어초록

This paper analyzes the film D-War(Hyung-Rae Sim 2007) under the perspective of the aesthetic of the superficiality. The superficiality of the film is an aesthetic phenomenon, which results from the use of the new technology, CGI(computer graphic imagery). Fredric Jameson relates this new aesthetic to the new technology and the Late Capitalism. Since the 1980s, it has been the general tendency to produce films with the new digital technology. Therefore we can find today readily this aesthetic phenomenon in almost all films. But this essay deals specially with the film D-War, because it may show us the most among the Korean films today, what the superficiality, or the depthlessness is. In this film, we can find the superficiality at the level of the time, the space, and the affect. The space of the film is constructed like the hyperspace, which is characterized through the depthlessness and confusion. The time structure seems to be schizophrenic. It gives rise to the confusion and causes the lack of the narrative. And the affect of the characters in the film is substituted by the special effect. For that reason, the intensive light and the magic of the special effect stand in the foreground instead of the special affect of the human beings. It leads also to the depthlessness of the affect. We can observe this aesthetic phenomenon above all at the spectacle of these films. The spectacle becomes nowadays the object of the sublime and the enjoyment, or jouissance. But at the same time, the aesthetic of the spectacle has the obscene character, because the spectacle substitutes the narrative and the figures of the film for the intensity of the technological ability and then it captivates spectators, so that they cannot but enjoy it without resistance against it, as is usually the case with the pornography. Today, we can find readily this tendency, when we watch the films, which are produced by the great capital not only in the USA but also in Korea.

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