김기덕 영화에서 '동일시'의 윤리적 성격에 관한 고찰 -<파란대문>의 분석을 중심으로

Abstract

Kim, Ki-duk, who is a renowned filmmaker in the global art film market,has made 15 films since 1996. His corpus has been said that it can be divided into two groups on the basis of the ways he treats the violence and sensational subject-matters,which used to be a trademark of his films until Spring, Summer,Fall, Winter … And Spring. I especially focused on the fact that his films,nonetheless, have dealt with love stories and showed the astounding identification dialectic, eventually made by the desired one after having gone through some hardships given by the desiring one. Birdcage Inn is an early exemplary film in terms of this implausible psychoanalytical turn in the identification procedures. In order to analyze the film, I looked into the Lacanian terms of the imaginary identification with the mirror image and mother, that is the imaginary ego, the symbolic identification with father, that is the ego-ideal, and the identification with the symptom (sinthome) itself. In addition, I examined that the neighbor in the Freudian sense is “those faceless monsters” with the impossible inter-subjectivity. According to the above theory, I analyzed the identification procedures in Birdcage Inn. To make a long story short, I could conclude that Hemi, the college student’s identification with Jina, the prostitute in that inn, followed the identification trajectory of Oedipus complex and ends up inthe identification with Jina as the Real or the extimate sinthome of hers. Nevertheless, it can be said that this film still did not make sure the fourth knot in Borromean knots and thus was about to fall into a cul-de-sac of perversion. Perhaps, the seemingly soft feeling of the late works might be considered as Kim’s attempt to get closer to ‘the symbolic nomination’ after having through the harsh criticisms on his perversive attitude.