향수영화가 하이맛(heimat)을 재현하는 방식에 관한 연구 :<워낭소리>, <웰컴 투 동막골>, <좋은 놈, 나쁜 놈, 이상한 놈>을 중심으로

Basic Information

Title

향수영화가 하이맛(heimat)을 재현하는 방식에 관한 연구 :<워낭소리>, <웰컴 투 동막골>, <좋은 놈, 나쁜 놈, 이상한 놈>을 중심으로

Subtitle

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Parallel Title

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Country

국내

Production Date

2010-**-**

Language

한국어

Size (mm)

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Pages

100

ISBN/ISSN

-

Edition

-

Master Files

-

Producer

박설영 (동국대 영상대학원 Film Studies 석사 논문 저자)

Description

(논문요약)[영문초록] These days modern people seem to feel collective nostalgia. For a long time the industrialization has made people distant from their home without realizing it, and so many Korean people, like ones in other countries, do feel empty and meaningless. The recent changes in the economic and political fields have caused a nostalgic atmosphere to be strengthened. The popularity of nostalgia films in present Korean film industry comes from this trend. The films which have appeared since the IMF crisis in 1997 , not only became a hot social issue, but also were acclaimed by the public so much. This paper focuses on the peculiarity in some recent nostalgia films. Nostalgia films mostly produced in 2009 have had some different points from the films made so far. In many nostalgia films since 1997, the past has been described as an area which cures the present pain or should be looked at with a negative point of view. However, the recent nostalgia films concentrate on the past itself as if reminding the past could solve the problem of the present time. But that is not true. It could be possible to restore the past as desirable one through curing itself. Especially these films describe a home in a spectacular image, presenting positive nostalgic state of mind for the past. What matters is the home described in the visual image. And it is not a place which reproduces the real past but an ideal space filled with ideology. In this sense, the home in recent nostalgia films is very similar to the meaning of Heimat used by German fascists. The fact that German fascists used Heimat to inflame German nationalism by shifting the meaning to a space with national ideology, makes people realize that the home in recent films is not an innocent place like Heimat. Therefore, finding out the similarity between the home and Heimat must be a critical issue in this thesis. That is, this paper aims to look for what Korean modern people desire by focusing on the method to represent a home as a space full of positive virtue of the past like Heimat. As nostalgia films with extremely positive attitudes toward past, have been produced frequently under the same juncture since 1997, and in 2009, Old Partner(2009), Welcome To Dongmakgol (2005) and The Good, the Bad the Weird (2008) were chosen as the subjects of analysis. I believe that reading the consciousness of the masses from cultural texts is to confirm the identity of modern people who enjoy this kind of culture. More and more nostalgia films are being produced and welcomed by lots of people, which means that film texts are made not just by directors but by collective need in a society. The work to find out people's desire driving this society through analyzing nostalgia films will help us notice where we are heading for. 목차

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