이창동 영화의 문화적 의미- 『오아시스』와 롤랑 바르트의 신화론, 『밀양』과 자크 데리다의 『죽음의 선물』 (The Cultural Significance of Lee Chang Dong's Films- Oasis in Relation with Roland Barthes' Mythologies and Secret Sunshine with Jacques Derrida's The Gift of Death)

서지정보

· 발행기관 : 한국비교문학회
· 수록지 정보 : 비교문학 / 44호 / 89 ~ 112페이지
· 저자명 : 이만식

초록

The cultural significance of Lee Chang Dong's films, such as Oasis and
Secret Sunshine, is officially recognized in world-class film festivals. The
favorable appreciation of Lee Chang Dong's films by western culture is
studied here in this paper especially in terms of the postmodern culture of
Roland Barthes and Jacques Derrida in order to suggest one of the potential
directions for other Korean film directors as well as for Lee Chang Dong
himself.
Oasis can be meaningfully interpreted in relation with Roland Barthes'
Mythologies, especially with the story of Gaston Dominici in “Dominici, ou
le triomphe de la Littérature.” Dominici was 77-year-old farmer wrongly
charged for the murder of Sir Jack Drumond's three family members mainly
due to the lack of capacity to deal with the legal system, which is based
upon the universal psychology developed within the cultural signification
system of bourgeois society. Jong Du is a Dominici in Oasis presented by
Lee Chang Dong. He is charged for the rape of Gong Ju in spite of their
mutual consent mainly due to the lack of capacity to answer back the
critical questions posed by the legal system. Gong Ju is in a little different
position even though she is regarded and treated usually as another
Dominici because she is paralyzed. Gong Ju reveals that she understands the
cultural signification system of bourgeois society, when she says during the
first serious conversation with Jong Do that she envies the working man.
Lee Chang Dong suggests a way to counter-attack the cultural signification
system of bourgeois society in this film entitled as Oasis, a representative
이만식 / 이창동 영화의 문화적 의미 111
image of the utopian dream of bourgeois society. He implies in the love
story of Jong Du, idiot, and Gong Ju, cripple, that Oasis can be realized
here in this bourgeois society even by the Dominicies.
Secret Sunshine is a sensational film especially for Korean Christian
society because of its inherent doubt about the validity of modern Christian
faith. This film can be significantly related with Jacques Derrida's The Gift
of Death which has the secret intention to implode the fundamental basis of
Christianity raising serious doubt about the modern Christian creed of
absolute submission to God's will regardless of concerned human condition.
Jong Chan became Christian with the latent desire to develop a relationship
with Shin Ae. He represents a typical Christian in modern Korea. Shin Ae
became Christian soon after her son was kidnapped and brutally murdered.
She cannot be satisfied with usual Christian life style because she is really
desperate to find out the excuses for her lonely existence resulted from the
deprivation of her son, her only hope of life. Later she tries to forgive the
convict, who declares surprisingly that he is already forgiven and saved by
God. The killer of her son convinces that he is saved by God without prior
consent of the victim, whereas Shin Ae is still asking for the peace of mind
in Christianity. She is forced now to search for the real significance of
Christian faith, i.e., the postmodern Christian faith not to exclude human
concern even in the process of absolute submission to God's will. There is
no possibility in the human side to find out the final resolution of this
religious problem. The director of this film suggests in the final scene of
location in Mil Yang, whose meaning of its Chinese letters is Secret
Sunshine, under the secret sunshine that it is only probable now to end only
with the process of compromise between Jong Chan's modern Christian
faith and Shin Ae's postmodern Christian faith. I think this is the Christian
interpretation, suggested in Secret Sunshine by Lee Chang Dong and
acknowledged by Cannes Film Festival, of Derrida's political positions,
democracy which is the place of negotiation or compromise between the
present forms of democracy and ‘democracy to come.’

영어초록

The cultural significance of Lee Chang Dong's films, such as Oasis and
Secret Sunshine, is officially recognized in world-class film festivals. The
favorable appreciation of Lee Chang Dong's films by western culture is
studied here in this paper especially in terms of the postmodern culture of
Roland Barthes and Jacques Derrida in order to suggest one of the potential
directions for other Korean film directors as well as for Lee Chang Dong
himself.
Oasis can be meaningfully interpreted in relation with Roland Barthes'
Mythologies, especially with the story of Gaston Dominici in “Dominici, ou
le triomphe de la Littérature.” Dominici was 77-year-old farmer wrongly
charged for the murder of Sir Jack Drumond's three family members mainly
due to the lack of capacity to deal with the legal system, which is based
upon the universal psychology developed within the cultural signification
system of bourgeois society. Jong Du is a Dominici in Oasis presented by
Lee Chang Dong. He is charged for the rape of Gong Ju in spite of their
mutual consent mainly due to the lack of capacity to answer back the
critical questions posed by the legal system. Gong Ju is in a little different
position even though she is regarded and treated usually as another
Dominici because she is paralyzed. Gong Ju reveals that she understands the
cultural signification system of bourgeois society, when she says during the
first serious conversation with Jong Do that she envies the working man.
Lee Chang Dong suggests a way to counter-attack the cultural signification
system of bourgeois society in this film entitled as Oasis, a representative
이만식 / 이창동 영화의 문화적 의미 111
image of the utopian dream of bourgeois society. He implies in the love
story of Jong Du, idiot, and Gong Ju, cripple, that Oasis can be realized
here in this bourgeois society even by the Dominicies.
Secret Sunshine is a sensational film especially for Korean Christian
society because of its inherent doubt about the validity of modern Christian
faith. This film can be significantly related with Jacques Derrida's The Gift
of Death which has the secret intention to implode the fundamental basis of
Christianity raising serious doubt about the modern Christian creed of
absolute submission to God's will regardless of concerned human condition.
Jong Chan became Christian with the latent desire to develop a relationship
with Shin Ae. He represents a typical Christian in modern Korea. Shin Ae
became Christian soon after her son was kidnapped and brutally murdered.
She cannot be satisfied with usual Christian life style because she is really
desperate to find out the excuses for her lonely existence resulted from the
deprivation of her son, her only hope of life. Later she tries to forgive the
convict, who declares surprisingly that he is already forgiven and saved by
God. The killer of her son convinces that he is saved by God without prior
consent of the victim, whereas Shin Ae is still asking for the peace of mind
in Christianity. She is forced now to search for the real significance of
Christian faith, i.e., the postmodern Christian faith not to exclude human
concern even in the process of absolute submission to God's will. There is
no possibility in the human side to find out the final resolution of this
religious problem. The director of this film suggests in the final scene of
location in Mil Yang, whose meaning of its Chinese letters is Secret
Sunshine, under the secret sunshine that it is only probable now to end only
with the process of compromise between Jong Chan's modern Christian
faith and Shin Ae's postmodern Christian faith. I think this is the Christian
interpretation, suggested in Secret Sunshine by Lee Chang Dong and
acknowledged by Cannes Film Festival, of Derrida's political positions,
democracy which is the place of negotiation or compromise between the
present forms of democracy and ‘democracy to come.’

참고자료

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