영화 <똥파리> : 우리 사회의 일상적 파시즘과 그로 인한 트라우마, 폭력의 전이와 그 희생자들

Abstract

Digitalization has been rapidly processed in production of Korean films. Due to this, timeserving of production process and economy of budget saving effect are being provided. Because of these changes in media situation, it is being prominent that young directors intend to communicate with the world, delivering the stories based on their own experiences of childhood. The movie, <Ttongpari>(written, starred and directed by Yang Ik-joon), can be classified as one of the dominant films of this case. This film has been rated high domestically and internationally as an excellent work which springs over a gate of low-budget independent films, and has artistic value and box office performance. Nevertheless, there has been no study which is conducted for deep studying for this film yet. The purpose of this research is to analyze the text at the front and to examine the characters of this film in depth. For make this possible, this study suggests net system between the characters after dividing the text into several scenes. This is followed by tracing diachronicly(historically) the origin of the inclination of violence of this film. That is reviewing our history of suffering and the process of modernization. That is because there is metonymic relation between the violence which is caused by characters and public history of certain era. Beyond the history of suffering,characters are the ones who are in the lowest class, not being protected by anyone. Through their violent lives, the insanity of the facism is seen, which spreads extensively and is immanent inside every single individuals. This study traces how it drives not only individuals but all family members to an catastrophe. In addition, this study examines which trauma the violence of the facism gives their springs, how it affects to formation of the children's personalities, and how it is inherited in families. People who change violence one another, and people who are living like Ttonparies,exploiting each other. Tragedy which is made by them is on transition and inheritance. Besides, the situation is unlikely to be improved systematically or to be relieved of that kind of life. The director, Yank Ik-joon, ends the film not presenting any solution, and says there is no vision. He asserts violence is likely to be inherited. Does this tragedy and structural contradiction have no room to be renovated, indeed?If we aim to be an advanced nation, it is expected for us to examine this matter in depth.