영화 시민의 자기 순환적 유희 - 한국영화 속 폭력 재현과 장르 해체의 징후로써의 박찬욱 -

Abstract

The main subject of analysis on Park Chan-uk in the meantime has been resolutely his style. However, we might be attempting unreasonable arrangement with material, which cannot be continued with one line at first. The point of Park Chan-uk's criticism for movies,which can be said to be the crystal that purified emotion possessed by B movie with highly-concentrated style, stays mainly in absence of narration. Just what is ambiguous is Park Chan-uk's identity and own self-consciousness. However, what is necessary now is a work of searching again all of traces of possibility in the middle of a crack and a controversy, not evaluation on Park Chan-uk. The firm position that Park Chan-uk is taking up as a distinguished stylist becomes a clue available for recalling the process and significance that the standardized genre proceeds with being changed. A reason that Park Chan-uk's movie is evaluated as saying of stopping narratively originates basically from the superficiality of image. Instead of which his movies are not afraid of being discontinued with period or social context, they are connected with other movies, namely, with the world of huge database called ‘film.’ Park Chan-uk's movies, which are based on movie itself, are loyal to images on revival, not substance. This shows a similar form to a genre film, which has axis as repetition and variation. A change and significance of style that Park Chan-uk's movies show are one case that a decline of genre in a film is directly revealed. One of the biggest characteristics in today's Korean film is a point that revival of violence gets cruel. This may be read as a sign in period or as reflection of artist's spirit, but is available for being comprehended at the point similar to dissolution of genre. A concept of genre as a meaning of having close relationship with narration disappears. A method of tautology in light of a close form just to fetish is overlapped with a pattern of reviving violence in Park Chan-uk's movie. He is having the origin of sublime beauty in violence, which is displayed through style itself, in the outside of film text. Repetition of image,which borrowed only icon allows a method of reviving itself to concentrate on what is sublime. The horizontal connection outside this movie text is the essence of reviving violence, which is shown by Park Chan-uk's movie, and is also a reason that genre proceeds with losing its vitality. ‘Movie’ as the dislocation-based phenomenon, in which a significance happens in the process of connecting significance without being lined up centering on one, in addition to discontinuity and fragmentation in the post-modern era, exists on the form of emptiness for filling up emptiness. Heterogeneity, which is caused by selfrepetition,breaks up significance of genre and leaves just style, which lost of subjectivity called just director.