음식 공유 장면에 재현된 동아시아 영화의 에피스테메 : 홍상수와 지아장커의 작품을 중심으로

Abstract

The scene sharing food is the connection of East Asian directors’ films. These scenes consisting of eating and drinking are placed in the Jia Zhangke and Hong sang-soo’s films, and the same actions are placed in different semantic network. Different aspects give us a sense about épistémè of East Asian cinema. Épistémè is a sub-element that constitutes the horizon and the cultural structure. Jia Zhangke’s Still Life places workers’ solidarity and family ties behind sharing food and drinking. Mountains May Depart reproduces family ties with a dumpling motif and summons traditional Chinese culture. Sharing food consists a mosaic of workers’ solidarity, family restoration, and summoning Chinese culture. That scene sharing food makes us reconsider the existing evaluation that the 6th generation directors of China value individual experiences rather than Chinese traditions. Hong Sang-soo’s films focus on the personal affect of pursing desire rather than the solidarity of class and family ties. The scenes sharing good and drinking are a form of hospitality, and beyond that, they head to rational intimacy through the ladder of desire. Spinoza’s concept of affect clearly reveals the protagonist’s desire. The character’s actions, such as drinking and eating, are activating physical activity to increase pleasure. Sharing food is a connection to the circuit of pursing desire. The unity of food, alcohol, and man and woman converges into a network of narrative movement and desorption of desire. While <Our Sunhi>(2013) focused on the linear reciprocal movement of eating and drinking, <The day He Arrives>(2011) completed the triangle of eating, drinking and sleeping.