디지털 기술과 감성 패러다임 시대의 영화산업
The Korean Film Industry - In the Age of Digital Technologies and The Affective Turn-
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In this article I compare Korean popular films to those of Hollywood's, especially its blockbusters in terms of digital technologies and affects. As filmmaking has been transformed from an analogue process to a heavily digitized one, film theorists have been concerned about the lack of investment in narrative construction and the general tendency toward increasing pace in order to generate audience excitement. I argue that while this may be true to Hollywood blockbusters, the Korean commercial films still value accurate continuity, for the Korean audience prefers believability and internal consistency to the spectacle of images that have no sense of meaningfulness and coherency. Consequently, there are also formal differences in editing in such a way that instead of rejecting classical continuity, the Korean films seem to follow what Bordwell called 'intensified continuity' in order to meet the demand of audience thrills. I, take this contextual difference to suggest that it would be a mistake if we apply directly to the Korean films the theory of affect that assumes the radical new form of power characterized not by disciplinary institutions, but by free-floating control through cybernetic systems., namely 'control society'. I argue that as the theory constructs a direct relationship of causality between affect and the control of the body, it tends to ignore the importance of mediation and thus contextual differences between the Korean film and Hollywood blockbusters. I finally turn to the importance of narrative in Korean films to support the idea that, unlike Hollywood blockbusters that no longer signify and focus only on producing affect, they may be better explained by the concept of emotion, that is signifying practices articulated through meaning effects and power relations. The task facing Korean film studies is, then, to identify the strategies and sites where emotional investments make transformation possible. To do so, I propose to make use of both cognitive and affective mapping.
Abstract
In this article I compare Korean popular films to those of Hollywood's, especially its blockbusters in terms of digital technologies and affects. As filmmaking has been transformed from an analogue process to a heavily digitized one, film theorists have been concerned about the lack of investment in narrative construction and the general tendency toward increasing pace in order to generate audience excitement. I argue that while this may be true to Hollywood blockbusters, the Korean commercial films still value accurate continuity, for the Korean audience prefers believability and internal consistency to the spectacle of images that have no sense of meaningfulness and coherency. Consequently, there are also formal differences in editing in such a way that instead of rejecting classical continuity, the Korean films seem to follow what Bordwell called 'intensified continuity' in order to meet the demand of audience thrills. I, take this contextual difference to suggest that it would be a mistake if we apply directly to the Korean films the theory of affect that assumes the radical new form of power characterized not by disciplinary institutions, but by free-floating control through cybernetic systems., namely 'control society'. I argue that as the theory constructs a direct relationship of causality between affect and the control of the body, it tends to ignore the importance of mediation and thus contextual differences between the Korean film and Hollywood blockbusters. I finally turn to the importance of narrative in Korean films to support the idea that, unlike Hollywood blockbusters that no longer signify and focus only on producing affect, they may be better explained by the concept of emotion, that is signifying practices articulated through meaning effects and power relations. The task facing Korean film studies is, then, to identify the strategies and sites where emotional investments make transformation possible. To do so, I propose to make use of both cognitive and affective mapping.
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