디지털 시대의 커뮤니케이션 강박증과 <괴물>
Communicative Obsession in the Digital Age and The Host
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The monster in The Host (BONG Joon-ho, 2006), produced by the digital creature technique as one of the cutting-edge digital effects, provides the maximized reality effect through accomplishing the complete accordance and communication with the live-action footage. Korea gearing up toward the digital future causes the people to be obsessed by the idea that they should be within the communication network constructed by digital technology in order to survive in the present Korean society which takes personal and social relationship seriously. The character of the monster in the film represent this obsession as a cultural repression. For this discussion, I examined theoretically the production process of the digital creature technique, its realism, the concept of communicative obsession, and induced the cultural repression that the monster has symbolized by means of the close textual analysis of The Host.
Abstract
The monster in The Host (BONG Joon-ho, 2006), produced by the digital creature technique as one of the cutting-edge digital effects, provides the maximized reality effect through accomplishing the complete accordance and communication with the live-action footage. Korea gearing up toward the digital future causes the people to be obsessed by the idea that they should be within the communication network constructed by digital technology in order to survive in the present Korean society which takes personal and social relationship seriously. The character of the monster in the film represent this obsession as a cultural repression. For this discussion, I examined theoretically the production process of the digital creature technique, its realism, the concept of communicative obsession, and induced the cultural repression that the monster has symbolized by means of the close textual analysis of The Host.
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