영상문화와 군중의 병리성: 돈 들릴로의 『마오 II』
Image Culture and Crowd's Pathology: Don DeLillo's Mao II
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Abstract
Byungjoo ParkThis paper aims to examine the loss of Bill Gray's identity through the crowd's pathology in the commercial world of media images and identify Don DeLillo's message in Mao II. DeLillo is willing to explore the way individual identity is lost by the mass media in Mao II. It is interesting that the world inhabited by Bill is the postmodern world described by Jean Baudrillard who points out negative symptoms of consumer and media culture. Like Baudrilliard, DeLillo sees the model preceding the reality. Reality seems to disappear behind multiple layers of simulation through media culture. Such a fascist impulse in American culture forces Bill to surrender to the crowd in the consumer society. Bill thinks it ends the ability of the individual consciousness to influence the mass mind. Although the crowd's pathology drives Bill to death, we can't regard Bill's gesture as DeLillo's message because there is artistic distance between DeLillo and Bill. Therefore, we must pay attention to Brita's role in the last section. Brita's final experience in Beirut is not with the terrorists but with a wedding party that she views from her balcony, which offers a contrast to the image of the cult factory marriages at the novel's beginning. In conclusion, this novel shows us that image culture contributes to generating a specious aura by transforming individual identity into mass consciousness. But DeLillo cannot be read as synonymous with Bill. Because Brita assumes she is restoring identity and using the camera as a giver of life, we are left with a sense of hope for restoring the individual.
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