김기영 영화의 공간 구조에 나타나는 근대와 전근대의 갈등양상

Abstract

The aim of this paper attempts to explain the conflicts between the modern times and the premodern times in the Korean movies of the 1960's through analyzing the shapes of spaces in Kim Ki-young's movies. For it, this paper explains the meaning and the function of the space through his movies, which were produced from the early 1960's to the early 1970's, whose names of those movies are The Housemaid(1960), Woman of Fire(1971) and Insect Woman(1972). Furthermore, this paper can make us understand the social structure in those times.

First of all, this paper pays attention to the spaces where the narrative happened. A two-story house, a big and tall apartment, a building and an overpass express the features of the Korean society which was accelerating the industrialization and the modernization. However, all this space where coexisted both the modern and the premodern represent the confusing features in that society.

The second, this paper has analyzed the shape of space in his movies. He expressed the conflicts between the modern times and the premodern times with cinematically techniques. Most of all, he used this way, that is, "frame within frame". He gave cinema audiences the pleasure of voyeurism and the position of the observant using this technique in a lot of ways. Also, in using the "frame within frame" technique, he made a lot of visual images through the values of the premodern times which were interlaced in the values of the modern times.