나르시시즘 윤리 관점에서 본 나홍진 감독의 삼부작

Abstract

It looked at the criticism of the same-character-centered worldview in director Na Hong-jin’s trilogy “The Chaser” (2008), “The Yellow Sea” (2010), and “The Wailing” (2016) from the perspective of narcissism ethics. These films portray a narcissist who hides ethical claims and embellishes a world full of evil people, wandering around a space where symbolic beliefs have disappeared. Analysis of the films reveals what the characters’ psychological dynamics and narratives reveal, sadism, academicity, and antisocial ethics. This work looked at violent ethics in two aspects, “The batter inside the subject” and “The division of the subject,” based on the narcissistic ethic consciousness in which the aggressive competition with the ideal self works. His film also summons Levinas’s ‘The Ethics of the Batter’. The movie features a scene of “someone who rebukes me with a naked face and accuses me of injustice.” It’s a close-up of the victim-female face. Rather than reflecting on the coldness and anti-ethics of genre pleasure and interpreting the director’s message of not turning a blind eye to the face of pain as disillusionment, it maintains a constructive ethics view of self-awareness. The real problem with narcissistic ethics, which is implied by the works of violence and ethics trilogy, is that the subject’s fall is on a path as planned as fate. Certain characters sacrifice more and more things without even realizing it. The aggression of the characters is directed at the ideal ego that is part of them, and therefore towards themselves. The painful violence they cannot give up is that the aggressive competition the subject has with the ideal self is the fundamental mechanism of ethical consciousness that works today. And these films show the problem of guilt. The weakest being in the world, the guilt of not taking care of the object to be taken care of, and this motif appears repeatedly in his film. The “face” of women’s bodies is one. The film attempts discourse on this lost world with accusations of the lost object Mi-jin’s face floating in an aquarium in “The Chaser,” his dead wife’s beautiful return in “The Yellow Sea,” his daughter’s brightness in “The Wailing” - and the violent world that caused them to be lost by bringing them into the discourse. The appearance of such a batter in Na Hong-jin’s film sends ethical responsibility and justifiable orders to others who have been lost.