지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
In the early 2000s, there was active discourse about body in Korean society. The theoretical backgrounds are rising of popular, sexuality and feminism. In this study, I will examine how male body is represented in the movies and what kind of meaning it has. The object is two action comedies--〈The Foul King〉 and 〈Volcano High〉. I will proceed to center this study on discourse about body.
Spinoza insisted parallelism of body and mind. In history of art, representing body was changed from male body to female body, from ideal body to realistic body. Body symbolizes diversity, identity and mutual body, and movie which is centering on action and visuality shows this representing of body.
Opponents are oppressive father and higher grader--man of rancor. Protagonist becomes obedient body by father's order and opponent's discipline. The ordering, economic, hard body of opponent which symbolizes modern corresponds to obedient, organic, soft body of protagonist which symbolizes post-modern.
The protagonist departs from obedient body because of lacking of obedience or usefulness which are two goals of discipline. Complicating protagonist between virtual identity and actual identity is reproduced to disrupted acting body between soft body and hard body.
While opponent--real father--, higher grader and absence of mother oppress protagonist, and supporter--symbolic father--, friends, and lover help protagonist's physical change. Opponent's sight issues in protagonist's immanencilization of supervision, but lover's sight issues in his outlet of potentiality. The protagonist finally reveals his potentiality facing with opponent's sacrifice ritual that intends to give his friend as a sacrifice. Protagonist's suit/uniform oppresses his potentiality but his wrestling wear/nude expresses his potentiality. Protagonist's warm hard body is opposite to opponent's cold hard body.
In the two films representation of body reflects the crisis of Korean Society in the early 2000s. While the opponent's body represents national body that pretends to be interested in the benefit of community but actually is more interested in his benefit, and the protagonist's body represents the popular's desire that wants to resolve this crisis by the effort to change and the will to transform.
Spinoza insisted parallelism of body and mind. In history of art, representing body was changed from male body to female body, from ideal body to realistic body. Body symbolizes diversity, identity and mutual body, and movie which is centering on action and visuality shows this representing of body.
Opponents are oppressive father and higher grader--man of rancor. Protagonist becomes obedient body by father's order and opponent's discipline. The ordering, economic, hard body of opponent which symbolizes modern corresponds to obedient, organic, soft body of protagonist which symbolizes post-modern.
The protagonist departs from obedient body because of lacking of obedience or usefulness which are two goals of discipline. Complicating protagonist between virtual identity and actual identity is reproduced to disrupted acting body between soft body and hard body.
While opponent--real father--, higher grader and absence of mother oppress protagonist, and supporter--symbolic father--, friends, and lover help protagonist's physical change. Opponent's sight issues in protagonist's immanencilization of supervision, but lover's sight issues in his outlet of potentiality. The protagonist finally reveals his potentiality facing with opponent's sacrifice ritual that intends to give his friend as a sacrifice. Protagonist's suit/uniform oppresses his potentiality but his wrestling wear/nude expresses his potentiality. Protagonist's warm hard body is opposite to opponent's cold hard body.
In the two films representation of body reflects the crisis of Korean Society in the early 2000s. While the opponent's body represents national body that pretends to be interested in the benefit of community but actually is more interested in his benefit, and the protagonist's body represents the popular's desire that wants to resolve this crisis by the effort to change and the will to transform.
목차
1. 육체의 재현과 액션코미디영화
2. 육체와 정체성 그리고 체현된 자아
3. 규율과 시선 그리고 복종하는 육체
4. 분열과 가면 그리고 연기하는 육체
5. 잠재성과 쿠도스 그리고 영웅적 육체
6. 국가체의 위기와 육체의 재현
참고문헌
Abstract
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
The wonder of the body
한국디자인학회 국제초대전도록
2015 .10
-
있는 그대로의 몸
무용역사기록학
2019 .01
-
바디 디자인 경험기간에 따른 몸의 인식과 의복 스타일에 미치는 영향-국내 20대 여성을 중심으로-
한국의류산업학회지
2020 .01
-
Body Image and Body Satisfaction Among Korean College Women
한국의류산업학회지
2008 .01
-
억압에서 해방으로: 춤과 몸
무용예술학연구
2005 .01
-
고령자 남성의 측면체형 연구 - 70세~85세 3D인체형상을 중심으로 -
한국디자인포럼
2019 .01
-
BODY SURFACE CHANGE ANALYSIS USING 3D BODY SCANNER
한국의류학회 학술발표논문집
2005 .01
-
한국과 몽골 여대생의 실제체형과 인지체형 및 신체만족도에 관한 비교
한국의류학회지
2010 .01
-
댄스스포츠 교육이 여중생들의 신체의식 및 신체존중감에 미치는 영향
한국사회체육학회지
2003 .05
-
A STUDY ON THE HIERARCHICAL STRUCTURE OF SUBJECTIVE BODY IMAGE IN KOREAN MIDDLE SCHOOL GIRLS - Focused on the Body Consciousness, the Body Cathexis, and the Body Cognition -
한국의류학회 학술발표논문집
2005 .01
-
상의패턴설계를 위한 30대 남성의 상반신 신체치수 및 체형유형 변화 연구
한국의상디자인학회지
2018 .06
-
한국과 일본여대생의 실제체형과 인지체형 및 신체만족도에 관한 비교
한국의류학회지
2004 .01
-
피복구성을 위한 신체비례 연구 -6세~24를 중심으로-
한국의류학회지
1982 .01
-
20대 여성의 실제체형, 인지체형, 신체상 지각불일치, 신체만족도가 의복 맞음새 만족도에 미치는 영향 - 정장 재킷을 중심으로 -
한국의류산업학회지
2017 .01
-
한.미 여대생의 실제체형과 인지체형의 만족도에 관한 비교
한국의류학회지
2001 .01
-
직업 한국무용수(Professional Korean Dancers)의 신체이미지(Body Image) 분석
대한무용학회논문집
2009 .01
이 논문의 저자 정보
이 논문과 함께 이용한 논문
2000 년대 전반기 한국영화산업에서 차지하는 코미디영화의 위상에 대한 고찰
서곡숙
영화연구
2004
.06
연기교육에 있어 대본분석의 중요성과 대본분석 방법에 관한 연구
양경미
영화연구
2012
.06
영화 속 문제적 바보의 비순응주의, 전도된 삶과 쓴 웃음 : 1960년대 후반기 심우섭의 코미디영화 ‘팔푼이’ 3부작 〈팔푼이부부〉, 〈팔푼이사위〉, 〈팔푼이며느리〉를 중심으로
서곡숙
영화연구
2007
.07
한국단편코미디의 희극전략과 가족 이데올로기 연구
문관규
영화연구
2008
.06
김승호의 연기세계
김수용
영화연구
1991
.12
최근 본 자료
댓글(0)
0