서정적 느와르와 의례화된 폭력 -<영화는 영화다>의 재현전략을 중심으로
Lyrical Noir and Ritualized Violence:Representation Strategies in Rough Cut
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This study explores the aesthetic strategies of ritualized violence in the Korean noir film Rough Cut(영화는 영화다, 2008). Drawing on Thomas Schatz’s genre theory and Borde & Chaumeton’s concept of the “ceremony of killing,” the paper introduces an expanded framework of “ritualized violence” to examine the film’s representation of violence. Through a multi-layered analysis of narrative structure, visual mise-en-scène, and meta-cinematic self-reflexivity, the study explores how the film constructs symbolic inversion—most notably through the transformation of a Buddhist statue into a weapon, the final freeze-frame sequence, and the inclusion of a film-within-a-film. Rough Cuttranscends the conventional codes of noir by embedding emotional depth, existential ambiguity, and ethical tension within its genre structure. The film ultimately exemplifies a performative mode of Korean noir—what this paper terms “lyrical noir”—which integrates genre conventions with affective and symbolic complexity, thereby proposing a new direction for Korean genre cinema.
Abstract
This study explores the aesthetic strategies of ritualized violence in the Korean noir film Rough Cut(영화는 영화다, 2008). Drawing on Thomas Schatz’s genre theory and Borde & Chaumeton’s concept of the “ceremony of killing,” the paper introduces an expanded framework of “ritualized violence” to examine the film’s representation of violence. Through a multi-layered analysis of narrative structure, visual mise-en-scène, and meta-cinematic self-reflexivity, the study explores how the film constructs symbolic inversion—most notably through the transformation of a Buddhist statue into a weapon, the final freeze-frame sequence, and the inclusion of a film-within-a-film. Rough Cuttranscends the conventional codes of noir by embedding emotional depth, existential ambiguity, and ethical tension within its genre structure. The film ultimately exemplifies a performative mode of Korean noir—what this paper terms “lyrical noir”—which integrates genre conventions with affective and symbolic complexity, thereby proposing a new direction for Korean genre cinema.