1980년대 이장호 감독의 영화에 재현된 터전의 상실과 혼성적 공간

Abstract

It was 1980s in Korea that subject experienced a crisis of the grounds lost due to urban development in Seoul, so-called ‘3S(sex, sports, screen) policy’ and political repression against freedom of speech, damage of tradition from Westernization, anti-American sentiment spread across the country and uplift awareness of division of nation but showed surprising viability despite the sense of loss. In this paper, I will discuss how the crisis of the grounds lost and viability was represented through hybrid space in one of the most famous realism film director, Jang-ho Lee’s 1980’s films. Three questions that this paper raises for this discussion are as follows: First, what kind of grounds loss and crisis of subject is found in Jang-ho Lee’s films in the 1980s? Second, how is this loss and crisis represented through hybrid space in his films? Third, despite this loss and crisis, how does subject show his/her viability? In this paper, I analysed five works, Balambuleo joheun nal (Good Windy Days, 1980), Eodum-ui jasigdeul (Children of Darkness Part 1, 1981), Baboseon-eon (Declaration of Idiot, 1983), Muleupgwa muleupsa-i (Between the Knees, 1984), Nageuneneun gil-e-seodo swiji An-neunda (The Man with Three Coffins, 1987) and reached the following conclusions. First, Jang-ho Lee’s 1980’s films deal with various situations of grounds loss like the loss of home and countryside(village), the loss of freedom of speech, the loss of tradition, and the loss of hometown caused by division of a nation, which are related to the periodical situations. Second, these are represented in hybrid image of urban and rural space in a frame, hybrid sound space where some different sounds conflict and collide, hybrid meaning of road which imply openness and closeness at the same time. Third, subject in Jang-ho Lee’s films showed strong viability to survive embodying the sense of loss and frustration. It looks equal to the artistic viability as an auteur of Jang-ho Lee who had to direct mainstream commercial films and erotic films under the censorship system but never gave up criticizing the social and political reality.