전통의 해체와 전위의 서사: 이청준의 소설 「이어도」와 김기영의 영화 <이어도>를 중심으로

Abstract

This study originated from the recognition of a problem regarding the differentiation between Korea’s 1970s ‘Jeonwi’ and Western avant-garde movements. The Korean Jeonwi is constructed through the reflection of the radical nature of the avant-garde, which reflects the crisis of dehumanization in industrial society, while also incorporating the unique internal context of Korea. Particularly, the Korean avant-garde movement in the 1970s is sometimes considered to have failed to properly fulfill its nature as a ‘movement’ under the influence of the oppressive military regime of the time. However, in Korea, as seen through Kim Hyun’s literary history discussions, the ‘Jeonwi’ sought to positively reaffirm the negative aspects of ‘disruption’ in the process of modernization, thereby seeking to reproduce ‘tradition’ in a different way from the nationalist realism. This implies that in Korea, a non-Western country, the dismantling of the strong ideological aspect of ‘tradition’ in the pursuit of autonomy was more sharply demanded. The structuralism in Kim Hyun’s criticism, therefore, expands into a post-structuralist discussion of temporality and spatiality meeting the specificity of ‘Korea’. Based on Kim Hyun’s perspective, this text aims to elucidate the characteristics of the ‘Jeonwi’ found in Lee Cheongjoon’s novel “Ieodo” and Kim Ki-young’s film “Ieodo”. Lee Cheongjoon’s novel and Kim Ki-young’s film, although based on the ‘Ieodo legend’, reconstruct their own narratives that reject the symbolic aspects of ‘tradition’ through adaptations to modern narrative genres such as detective novels/melodramas. Furthermore, while Kim Ki-young’s film is based on Lee Cheongjoon’s novel, it completely restructures the narrative of the novel. Through such relationships without an original, the legend-novel-film get a common denominator of ‘Ieodo’ while exerting mutual influence as independent works. This serves as an example of the dialectical relationship between ‘tradition’ and ‘Jeonwi’ mentioned by Kim Hyun. Furthermore, this can be connected to the political implications of the “invisible network” constructed by the fictions.