영화적 기법을 통한 현대시의 공간과 실재: 김기택, 오규원, 이성복을 중심으로

Abstract

This study analyzes the aspects of ‘space’ in priority in terms of the unfolding of time and space when analyzing poems based on cinematic techniques and reflects the correlation between these aspects of space and the reality of a poem. Kin Gi-taek starts his work in a way similar to close-up or extreme close-up which are ‘short distance shot’ in cinematic techniques. His poetry draws the inner essence by enlarging a small space. The aspects of a space appeared in this case are ‘projection’, leading from a superficial space to an inner space, and ‘re-discourse’ of a superficial space. The former vertically moves a space toward the essential significance while the latter superficially moves a space toward the essential significance. Projection and re-discourse of spaces reproduce the same space multilaterally and the power of this is similar to an attribute heading for a subject A, which is mentioned by Jacques Lacan. Subject A is the existence of a symbolic record and spaces are endlessly projected or re-discoursed to recover the Subject A. Even if a space is reproduced several times, it cannot reach the Subject A, a real realm of the space. Works by Kim Gi-taek is a process slowly heading toward a concealed reality into the absence. O Guy-won's raw poetry is similar to pull shot, long shot, and extreme long shot, which are the ‘long distance shot’, in terms of its starting method. Long distance shot is objective and neutral in that it is far from a space and makes ‘landscapes’. Landscapes give off 'atmospheres' rather than confined in a meaning and his raw poetry is similar to this. Spaces of the poems are classified into the 'flow of spaces' and ‘fixing of spaces’. The former forms relationships between spaces which are flowing like a panorama whereas the latter gives off atmospheres in one space while subjects are simultaneously moving. Raw-imaged poems are the ‘language of suggestion’, suggesting a distant view as it is and build the existence of images that have not settled as a symbolic signifier as the poems are not fixated in meanings. In other words, distant views expressed by him are the innate spaces completed in accordance with the flow of time and symbolize the actual world continuously escaping from a symbolic system. Works by Lee Seong-bok are close to ‘montage’ with which a variety of shots are edited in that those works enumerate spaces. Montage is classified into a classical montage and a modern montage and this study gropes for his poems through ‘Attraction montage’, one of the classical montages, and ‘expanded montage’, one of the modern montages. Spaces appeared in Lee's poems are unfolding focusing on an agony of abyss, i.e. trauma and attraction montage approaches it through the similarity of spaces while expanded montage through the intervals of spaces. The reason spaces are enumerated in the works by Lee Seong-bok is that the characteristic of trauma is ‘repetition compulsion’. Temporality of repetition in the characteristic of trauma should be found in the failure of the symbolization of the case, above all. To express trauma, it is imperative to endlessly list spaces until the spaces settle as significance in that those spaces are exteriority from symbol.