‘죽어가는 자의 고독’을 넘어서-<누구의 딸도 아닌 해원>의 에세이 영화적 특징들에 대하여-
Beyond the ‘Loneliness of the Dying’ -On the Essayistic Modes of Nobody’s Daughter Haewon-
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This essay discusses Hong Sang-soo’s Nobody’s Daughter Haewon in terms of the essayistic elements presented and varied in his recent films. While using Timothy Corrigan’s categories of the essay film to illuminate how they have been coalesced in his latest films, I argue for their specificities in that they are driven by Hong’s moralist investigation of human characters and inner conditions, and that they are based on his lucid blending of the essayistic elements with those of Roberto Rossellini’s and Eric Rohmer’s spiritualist art cinema. In repositioning Hong’s work within this context, I also claim that Nobody’s Daughter Haewon should be seen as a culmination of Hong’s recent essayistic turn for its key components, including its main character Haewon as an self-investigative flâneuse who does not gives up asking who she is, its uses of diary and internal monologue, and its crystalline narration in which the boundaries between the actual and virtual are fundamentally blurred and thrown in the circuit of exchange. By examining those components, this essay aims at opening up different avenues of understanding of both Hong’s individual films and his work as a whole.
Abstract
This essay discusses Hong Sang-soo’s Nobody’s Daughter Haewon in terms of the essayistic elements presented and varied in his recent films. While using Timothy Corrigan’s categories of the essay film to illuminate how they have been coalesced in his latest films, I argue for their specificities in that they are driven by Hong’s moralist investigation of human characters and inner conditions, and that they are based on his lucid blending of the essayistic elements with those of Roberto Rossellini’s and Eric Rohmer’s spiritualist art cinema. In repositioning Hong’s work within this context, I also claim that Nobody’s Daughter Haewon should be seen as a culmination of Hong’s recent essayistic turn for its key components, including its main character Haewon as an self-investigative flâneuse who does not gives up asking who she is, its uses of diary and internal monologue, and its crystalline narration in which the boundaries between the actual and virtual are fundamentally blurred and thrown in the circuit of exchange. By examining those components, this essay aims at opening up different avenues of understanding of both Hong’s individual films and his work as a whole.
참고문헌 (30)
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