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커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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This paper is mainly concerned with an analysis of the political unconsciousness of the historical dramas made in the early twenty-first century in South Korea. The films related to the historical dramas in form cast us some philosophical problems between the present and the past. Especially, the historical dramas pursue conversations between the present and the past by interpreting ‘the past’ from a perspective of ‘the present’.
The former historical dramas made an effort to revive the past through film vividly. However, the recent historical dramas influenced by Postmodernism are no longer pursuing a perfect revival of the past: nowadays the historical dramas concentrate on image rather than on narrative. In other words, since Postmodernism does not adhere to Macro-history any more and considers Micro-history to be important, these films are not historical dramas but costume dramas in form. According to Micro-history, the public discourses in the past are nothing but fictions like those in literature.
Recently, the historical dramas of South Korea reproduce the past through a fertile imagination. The films such as 〈Hwang San Bul〉, 〈Scandal〉, 〈Duelist〉, 〈Forbidden Craft〉, 〈King And The Clown〉, and 〈Heaven’s Soldier〉 do not represent the past accurately but pursue the realization of a strenuous imagination. The tendency is originated from the environment of the time at which the totality of the real world has disappeared far away: in the time when the prospect for the future is opaque and the identity is lost, the narrative is apt to relinquish the representation of the objects in history. These films express unconsciousness as visual images in this period when the grand discourses have been deconstructed. They aim at not teaching the historical moral, which is solemn and grand, but the interests of the audience and the perfection of them. Even though the historical dramas, today, give fun to the audience, they neglect their responsibilities for history and society.
For these reasons, I come to the conclusion that the historical dramas do not have to avoid the problems of the real world, now.
The former historical dramas made an effort to revive the past through film vividly. However, the recent historical dramas influenced by Postmodernism are no longer pursuing a perfect revival of the past: nowadays the historical dramas concentrate on image rather than on narrative. In other words, since Postmodernism does not adhere to Macro-history any more and considers Micro-history to be important, these films are not historical dramas but costume dramas in form. According to Micro-history, the public discourses in the past are nothing but fictions like those in literature.
Recently, the historical dramas of South Korea reproduce the past through a fertile imagination. The films such as 〈Hwang San Bul〉, 〈Scandal〉, 〈Duelist〉, 〈Forbidden Craft〉, 〈King And The Clown〉, and 〈Heaven’s Soldier〉 do not represent the past accurately but pursue the realization of a strenuous imagination. The tendency is originated from the environment of the time at which the totality of the real world has disappeared far away: in the time when the prospect for the future is opaque and the identity is lost, the narrative is apt to relinquish the representation of the objects in history. These films express unconsciousness as visual images in this period when the grand discourses have been deconstructed. They aim at not teaching the historical moral, which is solemn and grand, but the interests of the audience and the perfection of them. Even though the historical dramas, today, give fun to the audience, they neglect their responsibilities for history and society.
For these reasons, I come to the conclusion that the historical dramas do not have to avoid the problems of the real world, now.
목차
Ⅰ. 역사드라마의 지형
Ⅱ. 의도된 아나크로니즘(Anachronism), 또는 페티쉬로서의 역사
Ⅲ. 시각성의 과잉결정(over-determination)과 역사적 관음증
Ⅳ. 맺음말
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