영화 <꽃잎>과 <화려한 휴가>의 영상재현과 대중의 기억이 구성하는 영화와 역사의 관계에 관한 연구 (A Study on the Relationship of Film and History Constructed by Visual Represation in A Petal and Remember U 518 and Popular Memory)

서지정보

· 발행기관 : 한국영화학회
· 수록지 정보 : 영화연구 / 35호 / 43 ~ 76페이지
· 저자명 : 황인성, 강승묵

초록

The purpose of this article is to explore the relationship between film and history based on the critical concepts and theories of visual representation in film and popular memory. In order to do this, this paper studies how visual representations of film in general, and those of A Petal and Remember U 518 cases in particular, describe the history of 5ㆍ18 Gwang-Ju Democratization Movement on the basis of 'memories' that are embedded in the complex relationships between the present and the past as well as between the history and historicity.
Finally, the case study in this paper has come to an conclusion that the films only offered a partial and limited perspective regarding historical events that are especially sensitive in terms of politics all around the country. So, based on this conclusion, we suggest that the formation of popular memory tends to be negotiated and heavily influenced by the relationship between the past and the present. Futhermore, we argue that Korean films in this case function as the device of public representation that reinforces the official history through re-construction and re-production of the dominant memories.

영어초록

The purpose of this article is to explore the relationship between film and history based on the critical concepts and theories of visual representation in film and popular memory. In order to do this, this paper studies how visual representations of film in general, and those of A Petal and Remember U 518 cases in particular, describe the history of 5ㆍ18 Gwang-Ju Democratization Movement on the basis of 'memories' that are embedded in the complex relationships between the present and the past as well as between the history and historicity.
Finally, the case study in this paper has come to an conclusion that the films only offered a partial and limited perspective regarding historical events that are especially sensitive in terms of politics all around the country. So, based on this conclusion, we suggest that the formation of popular memory tends to be negotiated and heavily influenced by the relationship between the past and the present. Futhermore, we argue that Korean films in this case function as the device of public representation that reinforces the official history through re-construction and re-production of the dominant memories.

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