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미카엘 하네케의 〈히든〉: 포스트모던 인식론과 포스트콜로니얼 서사의 불편한 조우

Title
미카엘 하네케의 〈히든〉: 포스트모던 인식론과 포스트콜로니얼 서사의 불편한 조우
Other Titles
Close Encounters of Postmodern Epistemology and Postcolonial Narrative in Michael Haneke’s Cache
Author
이형섭
Keywords
하네케; 관객성; 포스트모던 인식론; 포스트콜로니얼 서사; 죄의식; 책임; Haneke; spectatorship; postmodern epistemology; postcolonial narrative; guilt and shame; responsibility
Issue Date
2011-03
Publisher
문학과영상학회 / Korean Association Of Literature And Film
Citation
문학과영상, v. 12, NO 1, Page. 211-232
Abstract
This paper looks into the problem of spectatorship manifest in Michael Haneke’s film, Cache (2005). Haneke’s constant destabilization and displacement of images regarding their epistemological status and in terms of both time and space render the spectator extremely helpless in attempting to arrive at the film’s meanings, however ambiguous and indeterminate they may have been intended by the director. Although Haneke explains the complexity and obtuseness of the film in terms of the director’s not necessarily cordial invitation to actively participate in creating the meanings of the film, the spectator is left with bewilderment partly through the film’s narrative obfuscation and due also in part to the tension-ridden gulf, if not the outright contradiction, that exists between the film’s postmodern epistemological form and its postcolonial narrative content. The essay is an interpretive exercise in multiple directions, all of them regretably yet necessarily inconclusive and tentative.
URI
http://www.dbpia.co.kr/Journal/ArticleDetail/NODE01635210
ISSN
1229-9847
Appears in Collections:
RESEARCH INSTITUTE[S](부설연구소) > RESEARCH INSTITUTE OF COMPARATIVE HISTORY & CULTURE(비교역사문화연구소) > Articles
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