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
This thesis focuses on the relation of nation, state, and male subjectivity in ‘Korean blockbuster’ 〈Berlin〉. Articulating the local and the global, regional particularity and hollywood universality, nationalism and spectacle, Korean Blockbuster newly appeared and moved to the center of Korean film industry and discourses in late 1990’s. Particularly, some early Korean Blockbuster such as 〈Shiri〉 and 〈JSA〉 dealt with the sadness of “one nation, two devided states” contributed to reinforce nationalism in South Korea.
Though a new Korean Blockbuster 〈Berlin〉 also deals with same theme of national division, the film revealed the different view and meaning of ‘nation’ and ‘state’ in comparison with 〈Shiri〉 and 〈JSA〉. The film erased historical trauma charged core role in earlier Korean films. It attribute to rarified signification of Nation. And State extricated oneself from nation-state converges toward capital.
In the matrix of neo-liberalism, globalized capitalism, and diversified world order in the era of post-cold war, economy as an ideology replaces cold war ideology. State reduces more and more one’s role to enlarge the flow of capital, and male characters more and more individualized in 〈Berlin〉. The changed relation of nation, state, and male subjectivity in the film, in part, results from the fact that Korean blockbuster have changed the references of hollywood blockbuster. Korean blockbuster as a cultural form is history in the making.
Though a new Korean Blockbuster 〈Berlin〉 also deals with same theme of national division, the film revealed the different view and meaning of ‘nation’ and ‘state’ in comparison with 〈Shiri〉 and 〈JSA〉. The film erased historical trauma charged core role in earlier Korean films. It attribute to rarified signification of Nation. And State extricated oneself from nation-state converges toward capital.
In the matrix of neo-liberalism, globalized capitalism, and diversified world order in the era of post-cold war, economy as an ideology replaces cold war ideology. State reduces more and more one’s role to enlarge the flow of capital, and male characters more and more individualized in 〈Berlin〉. The changed relation of nation, state, and male subjectivity in the film, in part, results from the fact that Korean blockbuster have changed the references of hollywood blockbuster. Korean blockbuster as a cultural form is history in the making.
목차
1. 들어가는 말
2. 역사적 트라우마의 부재
3. 민족의 소멸, 그리고 국가=자본
4. 국가없음의 남성 주체
5. 나오는 말
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2014-688-003180406