<한네의 승천>에 나타난 한국적 영상의 의미 연구－오영진의 시나리오와 하길종의 영화를 중심으로 (Imaging style of The Koreanness, The Ascension of Han-ne -in the scenario of Oh Young Jin and the movie of Ha Kil Jong)

서지정보

· 발행기관 : 한국드라마학회
· 수록지 정보 : 드라마 연구 / 28호 / 43 ~ 71페이지
· 저자명 : 김윤미

초록

오영진의 시나리오 <한네의 승천>과 하길종의 영화 <한네의 승천>을 분석하면서 1970년대 민족정체성의 모색을 위한 ‘한국적인 것’에 대한 전통담론의 영향과 기원을 살펴보았다.
하길종은 영화 <한네의 승천>에서 ‘한국적인 영화’의 미학을 성취하기 위해, 토속적 풍경의 시각화나 당시 대학가에서 일고 있던 탈춤을 비롯한 민중예술을, 영화 속에 적극 도입했고, 국악의 청각적 이미지화를 통해 한국적인 영상을 만들어내려고 노력하였다.
1970년대는 영화법에 의한 사전검열로 인해 ‘한국적인 영화’가 가능한 지점은 전통을 불러낼 수밖에 없었다. 민속의례를 극구조로 사용한 오영진의 시나리오 <한네의 승천>은, 하길종 감독이 자기검열의 한 방법으로 ‘한국적 정체성’을 찾아가는데 있어서 적합한 시나리오였다. 그러므로 이 작품 속에는 본질적으로 내면화된 오리엔탈리즘의 서사가 존재할 수밖에 없다. <한네의 승천>에 나타난 시공간적 거리는 오히려 전통적 요소를 타자화시킴으로서 ‘한국적인 영화’의 한계를 드러낸다. 오영진과 하길종은 한국을 세계에 알리려는 의욕을 가진 인물로 그들은 자신의 정체성을 전통에서 찾았다. 전통에 대한 이 같은 태도는 억압되었던 과거를 복원하는 것으로 여겨질 수 있지만, 실제로는 과거를 식민화하는 것에 불과하다.

영어초록

It was my intension to investigate the meaning of "the Chosunness" in the scenario, The Ascension of Hanne by Oh Young Jin and the imaging style of "the Koreanness" in the same titled movie by Ha Kil Jong. In short, The Ascension of Hanne was sprouted from the discourses on “the Chosunness" in late 1930s and bloomed with the renaissance of the traditionalism in 1970s. So in this scenario are dissolved the discourses on the korean traditional customs we can read throughout his works. In this study I compared and analyzed the scenario of The Ascension of Hanne with the movie. And I found that in these two works were overlapping the effects of discourses on “The Chosunness” in late 1930s to reestablish the national identity and of “the Koreanness” in 1970s.
For an instance, in the scenario The Ascension of Hanne we can find the common characteristics of the korean movies in late 1930s. Like the movies those days, this scenario deals with the problems of the tragic trials of an woman, suicide, murder by an incompetent man, all-swallowing human desire etc. on the basis of the buddhist reincarnation and predetermined destiny than the contemporary sociocultural backgrounds.
As an another instance, the movie The Ascension of Hanne was borne with the passion towards “the movie containing the Koreanness” by Ha Kil Jong. To realize this dream, he used the korean folk music and korean scenery as important materials. To reveal the essence of korean nature, he made his film with Seorak Mt. as its setting and captured the traditional folk sceneries on screen. Besides he actively introduced many forms of popular arts into his film including Tal Chum which had been widespread through universities and tried to make the korean image by embodying the korean folk music into audible imagery.
Oh Young Jin and Ha Kil Jong had the passion to spread the Koreanness all over the world. And they thought they could find their identity in korean folk tradition. So they tried to relate the korean stories with the embodiments of the Koreanness like the korean music, oriental paintings, many forms of folk arts etc.
But the Koreanness they tried to express was the result of modern self-censorship. So it assumed the form of mild conservative resistance which couldn't help conspiring with dominant authorities. Then our old tradition was revived as an illusionary form because their newly discovered identity was one which had been developed under these suppressive systems.
Consequently, with these approaches on tradition, they colonialized rather than renewed our suppressed past. So paradoxically, in the scenario The Ascension of Hanne by Oh Young Jin and the same titled movie by Ha Kil Jong, we are only able to find the falsehoods of our traditions and myths, along with the invisible violences within them.

참고자료

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