김기림의 영화적 글쓰기와 문명의 관상학

Abstract

Kim Ki-rim was more interested in movies than any other poet in the 1930's. Whereas Poets in KAPF paid attention to movies because of their sensational effects, Kim Ki-rim was indulged in movies because, he thought, movie provided 'new eyes' that were helpful to discover the reality of rapidly changing civilization. And he tried to overcome the crisis of poets caused by novels and movies, so he seemed to develop the method of cinematic writing. So, if Kim Ki-rim's poem was interpreted centering around suggested images rather than on poetic grammar or statement, its readability and visibility would be high. That's because the poet identified his eyes with lens of camera, and showed the physiognomy of civilization. However, for him, 'Civilization' was not a reality, but the equivalent of 'Western' and the thing displayed like a 'Showwindow'. Therefore, the landscape of city caught by the eyes of stroller or spectator has a limitation of being too ideal and fragmental. The purpose of this study is to understand with what visual mechanism his cinematic writing was made, and to consider the relationship between his cinematic writhing and his recognition of civilization. For this, first it is examined how the media of movie or city space of theater produced a new visual subject, and explored ‘cinematic writing’ process. And, cinematic technique shown in the poem of Kim Ki-rim is considered, and its poetic effect or accomplishment is also examined. In his earliest poem was shown the cinematic panorama, but the long poem, 「Kisang-do」, composed with the technique of montage, flashback and close-up is mainly analyzed here.