기타노 다케시의 자기반영의 미학 －<다케시즈>를 중심으로－

Abstract

Takeshis’, Kitano Takeshi’s 12th work, was embroiled in highly controversy over whether it was an esoteric art film or a mediocre. He is underestimated auteur in Korea where Japanese culture had been regulated since the nation was liberated from Japanese colonial rule and thus Japanese films also had been banned officially until the open door policy took effect on 1998. After HANA-BI received Golden Lion Prize in Venice International Film Festival and was also screened in PIFF, Kitano has been considered as very Japanese auteur in Korean film critics, not much caring about critical appraisals of his works in homeland, his dual identities as televisual Beat Takeshi and cinematic Kitano Takeshi, and details of his postmodern esthetics. To understand Takeshis’ made out of the first part of self-referential trilogy, one should surely consider the rest two parts, Achilles and the Tortoise and Glory to the Filmmaker! not having been screened yet in Korea. Kitano directed, wrote, edited, and played the leading roles in this trilogy, which has self-referential narrative and citations, therefore Takeshis’ needs to be analysed on the continuity of the other two parts rather than being approached separately. This paper questions the critics to read it as a linear narrative rather focusing on the film’s self-denial aspect on the continuity of Kitano’s aesthetics. In conclusion, I discuss how the recursive narrative denying the director’s artistic identity in the film, paradoxically, can work as an opportunity to create art.