신자유주의 시대의 폭력, 육체, 인지적 매핑 (The Violence, Body and Cognitive Mapping in the Neo-Liberal Age)

서지정보

· 발행기관 : 계명대학교 여성학연구소
· 수록지 정보 : 젠더와 문화 / 4권 / 2호 / 71 ~ 108페이지
· 저자명 : 김소영

초록

신자유주의 시대, 인지자본주의가 인지적 판독을 요구하며 등장하고 남한 영화는 여성, 난민 등과 같은 타자를 통해 젠더화된 감정 노동의 문제, 남성 육체의 물형성(corporeality)등을 다룬다. 〈하녀〉, 〈박쥐〉가 여성의 돌봄, 감정 노동을 생산하거나 조정하는 노동의 정동으로의 변이와 파괴성을 시대의 눈, 인지적 스타일로 재현하고 있다고 한다면 〈황해〉는 난민인 남성 몸의 파괴됨과 인지력을 시험하고 있다. 신자유주의의 축적, 운용 체제나 인지자본주의의 확산이 이러한 난민화된 몸을 글로벌 하층 주변부 남성의 일상적 현실 또는 거부할 수 없는 조건들로 구성해내고 있기 때문이다. 영화들은 점점 폭력과 죽음으로 내닫고, 여성들의 감정 노동은 극대화 되고, 남성들은 난민화, 비체화된다. 당대의 한국 영화가 극한의 언어로 짚어내고 있는 경향이다.

영어초록

South Korea entered the neo-liberal global system with the IMF crisis in 1997. The South Korean woman disappeared from cinematic representation as if global citizenship for Korean men were to be constituted with the exclusion of local women and the inclusion of woman as the “other” women. For Instance, JSA: the Joint Security Area (JSA) has a female character Sophie(2000), a Swiss born UN officer who is played by a Korean actress, Lee Yongae. A foreign woman character played by a recognizable Korean actress constitutes a realm of local gender politics of globalization. I have argued this same dynamic elsewhere: the vanishing South Korean woman in sync with the neo liberal globalization. In a struggle for global recognition via a Korean mode of blockbuster, this kind of exclusion of local women was the coming of the first stage.
The second stage of Korean blockbuster mode has emerged with a return of the well- known directors films like Park Chanwook’s Thirst(2009), BongJunho’s Mother(2009) and KimJiwoon’s I Saw the Devil(2010). There is a notable new director NaHongjin who made The Chaser(2008) and Hwanghae(2010).
These films seem to suggest a new set of problems about gendered and emotional labor, the miraculous corporeality of male bodies, as well as a cognitive mapping of a global city like Seoul.
Hwanghae is particularly interesting in addressing the age of immigrants, refugees and diaspora as noted by “A specter haunts the world and it is the specter of migration.” In a South Korean context, there are an increasing numbers of migrants including the Korean diaspora from China and refugees from North Korea. Hwanghae shows a hit man “Kunam” (played by a talented Ha Jeongwoo) follwing an illegal trail of migrant workers from Yanbian, China(mostly inhabited by Korean Chinese diaspora). Kunam is a temporary migrant and a refugee who is pursued by the tripartite of a South Korean gang, a Yanbian gang and South Korean policemen.

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