희생·사랑·복수의 전도를 통한 탈종교적 구원, 영화 <박쥐>

Abstract

Park Chan-wook has shown the (im)possibility of salvation by humans in his previous works. If so, it can be assumed that <Bat> also represents the possibility of post-religious salvation, not the religious dimension. The purpose of this paper is to reveal the possibility of post-religious salvation inherent in <Thirst> through how the meanings of 'sacrifice', 'love', and 'revenge', which are the main motifs of the film, are reversed. Park Chan-wook's film <Thirst> shows human desires and drive with a priest as the main character. The purpose of this paper is to reveal the paradoxical meaning of sacrifice, drive, and revenge inherent in this film. The main character, Sang-hyeon, participates as a test subject for the development of a virus vaccine. This can be said to be a perverted sacrifice that came from the fantasy that he could realize God's desire as God's representative. The fact that he participates in research that is not recognized by the Holy See shows his perverted side of denying the Other in order to realize his desire. In addition, informing the disciple of one's destination can be said to be a perverted aspect of believing that one can satisfy the desires of others. However, Sang-hyeon sacrifices his sacrifice. He attempts to rape a female disciple and deliberately exposes it to the disciple. Then, he commits suicide together with Tae-joo. This suicide completes his ‘sacrifice of sacrifice’ in that it takes place in the absence of the Other. Sang-hyeon's change was caused by Tae-joo, whom he desired. Tae-joo lives in a state where even sexual need is suppressed, and meets Sang-hyeon to relieve her need and become the subject of desire and drive. After becoming a vampire, she completely becomes the subject of drive, so she is not trapped in Sang-hyeon's desire. Sang-hyeon comes to an deadlock of his desires and ends up murdering Tae-joo. Paradoxically, however, it can be seen that Tae-joo actively accepted her death by her own death drive rather than being killed by her Sang-hyeon. This asymmetry between Sang-hyeon and Tae-joo appears in their love as well. Sang-hyeon desires Tae-joo as an ‘all’, but Tae-joo enjoys love as the ‘not-all’. Sang-hyeon desires Tae-joo as an ‘object a’ with a phallus fantasy that he can fill Tae-joo's deficiency, but Tae-joo gets satisfaction through drive regardless of the object. This asymmetry is what causes Sang-hyeon to murder himself and Tae-joo. When his desire for ‘object a’ fell into a deadlock, Sang-hyeon moved forward with the death drive. By the way, Sang-hyeon realizes the deaths of himself and Tae-joo in front of Ms. Ra's gaze, and eventually takes revenge on Ms. Ra's behalf. This can be said to be the aspect of subjectification achieved in the absence of the Other in that he has atone for a human being who is not the Other. In short, <Thirst> reverses the meaning of sacrifice, love, and revenge. Sacrifice is sacrificed, and the view that only loving ‘all’ is love is reversed, and love ‘not-all’ is true, and revenge is completed by becoming the object of revenge. Against the background of religion, <Thirst> paradoxically shows the possibility of post-religious salvation rather than salvation by God.