공포 영화에 나타나는 유희성 연구 : 로제 카이와의 놀이 이론으로 본 2000년대 한국 공포 영화

기본 정보

본제목

공포 영화에 나타나는 유희성 연구 : 로제 카이와의 놀이 이론으로 본 2000년대 한국 공포 영화

부제목

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대등제목

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국가구분

국내

생산일자

2011-**-**

언어

한국어

크기(mm)

-

페이지

100

ISBN/ISSN

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판차

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마스터파일

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생산자

홍민기 (동국대학교 영상대학교 영화영상학과 석사 논문 저자)

내용

(논문요약)[영문초록] Recently, Korean horror movies are faced a new paradigm. After 2000's, horror movies are changed in variable form which can not explain through existing discourses. The greater part of horror movies have been analyzed by psychoanalysis and feminism. As a view of this analysis is able to discuss about 60's to 80's classical horror movies; not violate propositions of "fears to modernize" and "present women's repression and expression". However, it is obvious that we find not enough to explain texts of recent a decade's horror movies which have been changed rapidly. As the generation goes by, preference of audience have been changing and texts of horror movies getting variable. By the way, discourses to illustrate this phenomenon are still content with respects above. Thesis begins with thirst for discourses. In thesis, I focused on effecting of horror movies as a sort of playing and unfold in the way of proving. Lexically, "play elements" which means amusement, pleasure and leisure has strong connection with horror movies realized based on free imagination. Furthermore, it is suitable to discuss flexibly about horror movies away from existing high-handed interpretation. To achieve it, this thesis examines Korean horror movies depending on French sociologist scholar Roger Caillois. His theory was acknowledged that a game can be classified into four sections to grab the human's interest related with culture. Four sections of game were consisted of Ilinx, Mimicry, Alea, and Agon. The competition with people in game is essential to "Agon" that which stands on the basis of a pride when one is definitely superior to the others. In same way, "Alea" is that which stands on the basis of fortune, "Mimicry" is that which stands on the basis of simulation, "Ilinx" is that which stands on the basis of dizzy. These notions can help to identify play elements which made by modern horror movies. It is also good to discuss about Classical horror movies; <A public Cemetery of Wolha> or <Woman's Wail> through notions, but we assume that it is more meaningful to prospect modern horror movies which hard to be explained through existing discourses. Accordingly, I chose four 2000's Korean horror movies below. These four movies; <the red shoes>, <A Tale of Two Sisters>, <Possessed> and <chaw> show that it surpass simply relief of women monster's suppressed desire. Each text expresses creative images and stories out of existing discourse categories. They are just like projected by shape of figure on the screen. This phenomenon is interpreted by a keyword "play elements". Four movies above are realized basing on four sections of game theory. First, in <the red shoes>, it builds convention of horror movie through distort competition. Second, in <A Tale of Two Sisters>, one character's mimicry dominates whole story of movie. Third, in <Possessed>, it describes Alea and Ilinix practically with modern society setting. Last, in <chaw>, it pursues play elements itself and presents through horror movie's text never seen before. Therefore, with this discussion, it is noticed that play elements and Korean horror movies have strong connection. Play elements which have been discussed in this way, and consequently, have special meaning to argue about new generation of Korean movies. In other words, it can be a help to look for ways to take a better vision of Korean horror movies made by new cinema-generations have grown up with female monsters; like Hollywood kids have grown up with watching Western films.

목차

목차

목차 Ⅰ. 서론 = 1 1. 문제 제기 및 연구 목적 = 1 2. 선행 연구 분석 = 3 3. 연구 대상 및 방법 = 7 Ⅱ. 놀이 이론 = 10 1. 요한 하위징아 놀이의 이론 = 10 2. 로제 카이와의 놀이 이론 = 12 가. 놀이의 정의 = 13 나. 놀이의 분류 = 15 (1) 아곤 = 16 (2) 알레아 = 17 (3) 미미크리 = 17 (4) 일링크스 = 18 다. 놀이의 타락 = 21 3. 놀이와 예술의 관계 = 22 4. 영화와 유희성 = 25 가. 일정 공간에서 여럿을 위해 전시 되는 놀이 = 25 나. 시, 음악과도 같은 영화 = 28 Ⅲ. 공포 영화 = 31 1. 공포 영화의 정의 = 31 가. 공포 영화란 = 31 나. 기존 공포 영화의 특징 = 32 (1) 환상 장르로서의 공포 영화 = 32 (2) 억압과 그것의 귀환 = 33 2. 한국의 공포 영화 = 35 가. 고전 공포 영화 연구 = 36 (1) 한국 공포 영화 속 여성 ; 여귀 = 36 (2) 한국 고전 공포 영화와 근대성에 관한 논의들 = 38 나. 2000년대 이후 공포 영화 = 40 (1) 다양한 괴물 = 41 (2) 억압에서 놀이로 = 42 Ⅳ. 놀이이론으로 본 한국의 공포 영화 = 46 1. <분홍신>, 죽음을 부르는 아곤(경쟁) = 47 (1) 분홍 구두가 만들어 낸 경쟁 관계 = 47 (2) 구두를 통해 아이가 되려는 엄마, 어른이 되려는 딸 = 51 (3) 과잉 모성, 경쟁의 소멸 = 55 2. <장화홍련>, 죄의식과 증오가 불러낸 어긋난 미미크리(모의) = 59 (1) 영화 전반을 꿰뚫는 가면 놀이 = 59 (2) 형상뿐인 괴물 = 65 3. <불신지옥>, 우연의 타락과 현실의 현기증(알레아와 일링크스) = 68 (1) 미신으로 봉합되는 현재 = 68 (2) 현기증, 낭떠러지에서 떨어지는 꿈 = 75 4. <차우>, 유희하는 괴작 = 79 (1) 표류하는 역할 놀이 = 80 (2) 겁에 질린 일링크스 = 83 (3) 무상성이 동반하는 허무감 = 88 Ⅴ. 결론 = 90 참고문헌 = 93 Abstract = 98

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