장률의 <경주>에 나타난 타나토스의 징후와 에로스의 풍경들

Abstract

Zhang Lu's film, <Kyengju> is comprised of two essential coordinates of the death instinct as Thanatos and the will to live as Eros. Thanatos subsumes the death images such as mausoleums in city of Kyengju, the condolence on senior's death, the death of mother and daughter and the death of the biker. In the stratum of death connotes the cinematic application of three figurations in the film, first of all, the death of relationship between Changhee and his young wife, second, the death of emotions unable to exceed the barrier of time between Choi hyun and Yeojeong, lastly, the death of emotions in order to rise up enhanced Eros represented Yoonhee's restrain. The death of emotions operates regenerated Eros through the emergence and discovery of the object of affection. The regeneration of Eros presupposes that it consists of the death of emotions and the replacement of object. Object love is divided by a particular one to love and a desire to be a object of love. The figures in <Kyengju> mostly aim to object love as well as seek the completeness of Eros through Thanatos. It is shown that Object love is Changhee's love for his wife and Yoonhee's attachment for her husband. The completion and the enhancement of Eros is presented by Yoonhee and Changhee. The death of emotions as Thanatos because Yoonhee shelved intimate relationship with Choi hyun, representing some aspects of rise toward the sour of Eros. Likewise, Choi hyun abstains from the feeling of Eros through avoiding slept with Yoonhee. Journey for the completion of Eros in <Kyenju> is presented by Changhee and Yoonhee. Changhee loves his wife, but he is excluded from the love itself. He makes up his mind, while failure to receive love from the beloved object. It is about completion of love with his wife(Eros) through death itself(Thanatos). Yoonhee also lives in a time Thanatos ever loss for the beloved object of her husband. she spent the night with Choi hyun resembled her husband. Yoonhee by equating Choi hyun to her husband seized the emotion of Eros. Eventually Yoonhee confirms the fact that there is different between them to touch Choi hyun's ears. She was temporarily surged the desire for him, but getting rid of the object love to withdraw desire(Thanatos). Recovering her to Eros of her husband over Thanatos. However, in the following scene, Yoonhee is finally liberated from the oppression of desire(Thanatos) caused by the death of her husband, and then tore the wallpaper, opened the pornography, at last transition to object love(Eros) toward Choi hyun The last scene opens up the possibility of multiple interpretations. It is condensed into a romantic spatiotemporal figuration to becoming and epiphanies of beauty. This scene performs the coexistence with past and present, the combination of Eros with Thanatos and the integration with romantic time and emancipative location. Yoonhee in the last scene reaches the apex of Eros completion of being beauty and attributed to the place of art. Looked at pornographic scenes Eros and Thanatos, oppression and liberation and vanished into the boundary between the past and present are shown emacipative spcae-time and outstanding scenery from romantic artistic creation. Origin of art is beauty itself, Thanatos and Eros are a waterway that originates here and return to here.