영화 <더 기버>에 투영된 포스트휴머니즘의 유토피아/ 디스토피아
Utopia/Dystopia of Posthumanism Reflected in The Giver
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This paper examines ambivalence of a posthuman society from Lois Lowry's The Giver. While the original novel was written in 1993, it took more than 20 years to produce a film version in 2014. Its main character is Jonas, who is selected as a receiver of memory in this special community. The film version shows ambivalent aspects of a posthuman society through a black and white comparison of shade by providing its screen without any colors in mise-en-scene. Jonas's first recognition of color is of importance in sensory experience by distinguishing colors. Jonas, a posthuman and a receiver, plays a significant role in exploring the possibility of connecting and remembering human experiences. After he realizes the somber aspects of utopian society, he has no choice but to escape from his community; he is willing to save Gabriel while risking his own life. In that process, he employs all the memories he received from the giver. From posthuman perspectives, people can be enhanced in body and mind by creating posthuman beings. For this a posthuman society seeks a better one composed of better/enhanced human beings by selecting superior genes. Through the human enhancement of the body, this kind of society is searching for a utopia. Their ultimate dream is an idealistic society for humans where there is no deprivation, discrimination, illness, war, etc. In particular, by guaranteeing no crimes or unemployment, a utopian society can realize the embodiment of humanism. In conclusion, despite searching for a utopia, there can be seen various dystopic aspects of a utopian society in which a posthuman can be created by superior genes adopted and selected by the government. Although the goal of posthuman society is to make a better society, a hidden face of a utopic state is dystopia since humanist values of freedom, free will and control of one's life cannot be found. Therefore, through human enhancement, posthumans try to embody a utopian society; however, dystopic aspects cannot be separated from a utopian society like a coin with two sides.
Abstract
This paper examines ambivalence of a posthuman society from Lois Lowry's The Giver. While the original novel was written in 1993, it took more than 20 years to produce a film version in 2014. Its main character is Jonas, who is selected as a receiver of memory in this special community. The film version shows ambivalent aspects of a posthuman society through a black and white comparison of shade by providing its screen without any colors in mise-en-scene. Jonas's first recognition of color is of importance in sensory experience by distinguishing colors. Jonas, a posthuman and a receiver, plays a significant role in exploring the possibility of connecting and remembering human experiences. After he realizes the somber aspects of utopian society, he has no choice but to escape from his community; he is willing to save Gabriel while risking his own life. In that process, he employs all the memories he received from the giver. From posthuman perspectives, people can be enhanced in body and mind by creating posthuman beings. For this a posthuman society seeks a better one composed of better/enhanced human beings by selecting superior genes. Through the human enhancement of the body, this kind of society is searching for a utopia. Their ultimate dream is an idealistic society for humans where there is no deprivation, discrimination, illness, war, etc. In particular, by guaranteeing no crimes or unemployment, a utopian society can realize the embodiment of humanism. In conclusion, despite searching for a utopia, there can be seen various dystopic aspects of a utopian society in which a posthuman can be created by superior genes adopted and selected by the government. Although the goal of posthuman society is to make a better society, a hidden face of a utopic state is dystopia since humanist values of freedom, free will and control of one's life cannot be found. Therefore, through human enhancement, posthumans try to embody a utopian society; however, dystopic aspects cannot be separated from a utopian society like a coin with two sides.
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