이마무라 쇼헤이(今村昌平)의 《日本昆虫記》 論 ― 벌레, 삶의 역동성과 토속적 세계 ― (Study on the The Insect Woman by Imamura Shohei : Dynamic Life and Indigenous World and Insects)

서지정보

· 발행기관 : 한국일본어교육학회
· 수록지 정보 : 日本語敎育 / 88호 / 145 ~ 158페이지
· 저자명 : 유재연

초록

The Insect Woman, directed by Shohei Imamura, is a work that depicts the half life of a woman like a worm. The film evolves in juxtaposition with the flow of Japan's modern and modern turbulence and the hero's life. However, as a personal history, the life of the troupe and the history of the country are not in contact and maintain parallelism. And the chronicles of the state and the individual have their own meanings, but portray reality of the innocent Japanese behind history. And Imamura explores the real human figure in their lives and focuses on their sticky vitality and realistically portrays it. However, ‘The Insect Woman' focuses on the dynamism of life in the main domain and does not evaluate good or evil. The director is trying to reproduce through the video that life like the bottom of the Japanese society has led to Japanese society. And suggests that the life force originated from the indigenous nature of traditional society.
The reason why Imamura paid attention to the indigenous life of the marginalized life rather than the mainstream is the longing for the vitality of traditional society and the sense of inferiority as a city dweller. There is a sense of criticism about the relationship between human life and the modern and contemporary process of Japanese civilization. Especially, the experience of the war that left deep scars on him, the confusion after the defeat, and the post war revival became a concrete and solid consciousness, not an ideological hardness of indigenousity. And ‘The Insect Woman' expects the future to be indigenous to traditional society. His artistic worldview is a decision of consciousness, and his visual expression is ‘The Insect Woman'.

영어초록

The Insect Woman, directed by Shohei Imamura, is a work that depicts the half life of a woman like a worm. The film evolves in juxtaposition with the flow of Japan's modern and modern turbulence and the hero's life. However, as a personal history, the life of the troupe and the history of the country are not in contact and maintain parallelism. And the chronicles of the state and the individual have their own meanings, but portray reality of the innocent Japanese behind history. And Imamura explores the real human figure in their lives and focuses on their sticky vitality and realistically portrays it. However, ‘The Insect Woman' focuses on the dynamism of life in the main domain and does not evaluate good or evil. The director is trying to reproduce through the video that life like the bottom of the Japanese society has led to Japanese society. And suggests that the life force originated from the indigenous nature of traditional society.
The reason why Imamura paid attention to the indigenous life of the marginalized life rather than the mainstream is the longing for the vitality of traditional society and the sense of inferiority as a city dweller. There is a sense of criticism about the relationship between human life and the modern and contemporary process of Japanese civilization. Especially, the experience of the war that left deep scars on him, the confusion after the defeat, and the post war revival became a concrete and solid consciousness, not an ideological hardness of indigenousity. And ‘The Insect Woman' expects the future to be indigenous to traditional society. His artistic worldview is a decision of consciousness, and his visual expression is ‘The Insect Woman'.

참고자료

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