탈중심화된 중심으로서의 <디 워>와 심형래 감독 (D-War and Shim, Hyung-Rae As A Decentralized Centre)

서지정보

· 발행기관 : 한국디지털영상학회
· 수록지 정보 : PREVIEW : 디지털영상학술지 / 5권 / 2호 / 31 ~ 64페이지
· 저자명 : 김선엽

초록

Regarding the South Korean movies in 2007, the hottest issue was Shim, Hyung-Rae's D-War. Not only was it the biggest success in the South Korea's box office but also it became an open site for a power struggle between professionals and netizens. While most film critics and journalists criticized it severely, the majority of the netizens denounced them harshly, supporting the film. During this rare and intense dispute, chiefly Jin, Joong-Kweon, a famous esthetician, heartlessly disregarded the film and its supporters, arguing the director and his fans should learn more about film and humanities. On the contrary, the film's supporters spoke up he was just a representative of arrogant traditional intellectuals only based on the old Modernism, which had been a critical discourse oppressing the minority for decades. This kind of collision cleary shows a struggle relating to a hierarchy of discourses around popular culture. Moreover, film text itself seems to imply the counter-discourse as well as the Orientalist's discourse. Meets its postcolonial hybridity, especially its aspect of standardization/globalization with the locality displayed dominant discourses and resists them at the same time. Of course, this hybridity itself doesn't directly result in a political progress but it definitely damages the dominant discourse in any way.
In conclusion, judging Shim's D-War is not that easy and simple as Jin has insisted if seen in the political point of view. Rather, it seems like a sort of film which should be analyzed multilaterally since Shim and his film are the fluid periphery as well as centre according to the changing context.

영어초록

Regarding the South Korean movies in 2007, the hottest issue was Shim, Hyung-Rae's D-War. Not only was it the biggest success in the South Korea's box office but also it became an open site for a power struggle between professionals and netizens. While most film critics and journalists criticized it severely, the majority of the netizens denounced them harshly, supporting the film. During this rare and intense dispute, chiefly Jin, Joong-Kweon, a famous esthetician, heartlessly disregarded the film and its supporters, arguing the director and his fans should learn more about film and humanities. On the contrary, the film's supporters spoke up he was just a representative of arrogant traditional intellectuals only based on the old Modernism, which had been a critical discourse oppressing the minority for decades. This kind of collision cleary shows a struggle relating to a hierarchy of discourses around popular culture. Moreover, film text itself seems to imply the counter-discourse as well as the Orientalist's discourse. Meets its postcolonial hybridity, especially its aspect of standardization/globalization with the locality displayed dominant discourses and resists them at the same time. Of course, this hybridity itself doesn't directly result in a political progress but it definitely damages the dominant discourse in any way.
In conclusion, judging Shim's D-War is not that easy and simple as Jin has insisted if seen in the political point of view. Rather, it seems like a sort of film which should be analyzed multilaterally since Shim and his film are the fluid periphery as well as centre according to the changing context.

참고자료

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