전후시의 영화적 이미지 ―김종삼의 경우

Abstract

This paper aims to examine the poetic strategy and perception of reality, starting with the assumption that Kim Jong-sam’s poetic world lies under the influence of the film. The anthology collection of poems mainly covered in this paper is an important material that is evaluated as being in the magnetic field of the perception of a “new poem” possessed by poets in the 1960s. This paper selected poetry and specimens in which the images of “Comtemplation” and “Gaze” stand out, and analyzed them in-depth, along with the lyrical concept of “Distancing between Subject and Other” and the proposition of Kim Jong-sam’s poem theory of “Distancing between Subject and Other”. This paper attempted ‘overlapping reading’ between director Kim Jong-sam and poet Kim Jong-sam to discuss Kim Jong-sam’s image directing method and how ‘the language of a new poem’ works. To this end, the premise that director Kim Jong-sam’s adjustment of the ‘depth of field (DOF)’ and poet Kim Jong-sam’s distancing of subject and others’ are intertwined. Based on inferring how the subject reflected in the director Kim Jong-sam’s lens would have been located in the frame, it can be said to infer how the subject and the other who entered the vision of poet Kim Jong-sam were embodied in poetic language. In the post-war reality, Kim Jong-sam had an “inevitable meeting” with the subject and the “unexpected other.” It’s a point where it’s called “adding an image over meaning,” and it’s called “image over image.” Another point, foreground, post-hardening of thought, is connected, and finally, “image.” This is the trend that leads to privatization. This thesis, which meticulously reads the “language of new poetry” that Kim Jong-sam aimed for, approaches the affective space of poetry in the 1960s. It was a means of doing so.