티무르 베크맘베토프의 <나이트 워치>: 세계화 시대의 문화논리 혹은 징후로서의 영화
Timur Bekmambetov's "Night Watch": Cultural Logic in the Age of Globalization or Film as Symptom
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One of the most important event in cultural life of new-millenium Russia was the release of film Night Watch[Nochnoi Dazor](2004) directed by Timur Bekmambenov, a real big cinema in terms of budget, ticket sales, visual wizardry, and epic scope. The film, declaring itself Russia's first blockbuster, not only has received great public favor (which is proved by remarkable box office record) but also arisen exceptionally serious interest among the intellectuals. The meaning of this unprecedented success hardly can be explained completely just by its commercial context. Rather, it reflects some important changes in social consciousness of Russian masses in recent 4-5 years, that is, a certain serious social-psychological and social-cultural shift. In this paper film Night Watch is examined as a symptom of Russian political-cultural unconsciousness of Putin's era. The Basic context, motivating this analytic reading, is the condition of 'cultural globalization' under enormous influence of which contemporary post-soviet Russian society is also located. Critically analysing this film, we will have chance to reconsider (and, furthermore, remodel) the familiar topic of Russian national identity in terms of crisis of cultural authority under the influence of 'the west'. For us, cinema as typical cultural product in the age of post-capitalism, is not only the main media which embodies the logic of cultural globalization, but also is thought as a most suitable cultural object in order to peep into the collective (un)consciousness of a society itself which has made that film. Thoroughly investigating the essence of 'heterogeneity' and 'contradictoriness (paradox)' of this film, we will be able to interpret it as a problematic symptom representing political and cultural unconsciousness of Putin's era, and at the same time re-appreciate it as an stimulating case study for the general topic of cultural globalization; dichotomy between the universal and the specific/the global and local.
Abstract
One of the most important event in cultural life of new-millenium Russia was the release of film Night Watch[Nochnoi Dazor](2004) directed by Timur Bekmambenov, a real big cinema in terms of budget, ticket sales, visual wizardry, and epic scope. The film, declaring itself Russia's first blockbuster, not only has received great public favor (which is proved by remarkable box office record) but also arisen exceptionally serious interest among the intellectuals. The meaning of this unprecedented success hardly can be explained completely just by its commercial context. Rather, it reflects some important changes in social consciousness of Russian masses in recent 4-5 years, that is, a certain serious social-psychological and social-cultural shift. In this paper film Night Watch is examined as a symptom of Russian political-cultural unconsciousness of Putin's era. The Basic context, motivating this analytic reading, is the condition of 'cultural globalization' under enormous influence of which contemporary post-soviet Russian society is also located. Critically analysing this film, we will have chance to reconsider (and, furthermore, remodel) the familiar topic of Russian national identity in terms of crisis of cultural authority under the influence of 'the west'. For us, cinema as typical cultural product in the age of post-capitalism, is not only the main media which embodies the logic of cultural globalization, but also is thought as a most suitable cultural object in order to peep into the collective (un)consciousness of a society itself which has made that film. Thoroughly investigating the essence of 'heterogeneity' and 'contradictoriness (paradox)' of this film, we will be able to interpret it as a problematic symptom representing political and cultural unconsciousness of Putin's era, and at the same time re-appreciate it as an stimulating case study for the general topic of cultural globalization; dichotomy between the universal and the specific/the global and local.
참고문헌 (17)
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