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〈올드보이〉에 나타난 여섯 개의 이미지

The Six Images in Old Boy
문학과영상 제5권 1호, 2004.6, 5-26 (22 pages)
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초록
Chan Wook Park's 2003 film Old Boy was acclaimed by many critics for its exuberant dramatization of characters, amazing cast and well-made script, and meticulous schemes of mise-en-scene. Old Boy received five awards at 41 Daejong Film Festival, including best director, best actor (Choi Min-sik), best music, best film editing, and best film lighting. Most of all, the movie won the Grand Prize of the Jury at the 2004 Cannes Film Festival, thus landing Old Boy director Chan Wook Park on center stage.
Old Boy tells the story of a man imprisoned in a shoddy jail for 15 years and his revenge. On the surface the film is revenge flick of the two men entangled by fate. On a rainy night Dae-Soo O is kidnapped by unknown men and imprisoned in a private cell. And one day after 15 years, he finds himself set free from the jail and dumped in the place where he was kidnapped 15 years ago. He tries to revenge himself on the man, Woo-Jin Lee, who locked him up. The story gradually turns out to be Woo-Jin's revenge drama instead of Dae-Soo's. Woo-Jin Lee was in love with his big sister Soo-A, a mother figure. They loved each other dearly even if they were not supposed to. One day at the high school garage Dae-Soo happened to witness their affair. He talked about it to one of his friends and thus the whole world came to know about it. Soo-A had an imaginary pregnancy. Desperate, she committed suicide in a lake. Woo-Jin let go of her hand out of fear that the world should find out about their secret incestuous love.
On a deeper level, however, the film tactfully touches upon a mythic world. There are many contrivances and images implying the mythic drama of Oedipus. The six images in the movie provide a stylish effect and exuberant mise-en-scene. These six images are water, violet, strife pattern, mirror, Panopticon, and the phallic image. The water image prevalent in Woo-Jin's Penthouse is a constant reminder of Soo-A's complete mother-love. It also implies Soo-A's death in a lake. The violet color manifests the sublime presence of Soo-A and her tragic death. Many patterns of cross stripes and checks, which are embedded in the walls, umbrella, boxes and handkerchief in the film, signify the compulsory memories of Woo-Jin and his psychic imprisonment. The strife pattern also symbolizes the unbearable repetition of Dae-Soo's imprisoned life. The mirror image suggests the mirror stage of Woo-Jin's psychology, especially his identification with his sister. It also indicates the appearance of Dae-Woo as a “Symbolic Father.” He watches the brother and sister in the middle of their affair through the broken window. The image of the broken window signifies that the boundary between the Imaginary and the Symbolic Worlds was dissolved and that Woo-Jin entered the Symbolic World with a castration complex.
Important of all, many phallic images including tongues, severed hands and knives are intended to imply the relationship of Woo-Jin and Dae-Soo. These phallic images are definitely signifiant of Woo-Jin's castration anxiety. Jacques Lacan's theories on gaze and desire can be applied to explain Woo-Jin's Oedipus Complex. Soo-A is Woo-Jin's objet petit a, his ever-present and ever-unfulfilled desire. Dae-Soo is Woo-Jin's “Symbolic Father” who prohibited his incestuous desire in the name of the father. When Woo-Jin let go of his sister in the lake, he became an Oedipus with a castration complex.
Dae-Soo plays the role of the monster sphinx who kept the secret of human beings in the Oedipus drama. Woo-Jin gives in when he sees Dae-Soo cutting his tongue in order to protect his daughter Mido from the terrible secret of their incestuous relationship. Thus Dae-Soo again appears as a father figure who keeps the name and the law. At the final scene of Woo-Jin's penthouse, the enormous window glasses are broken into pieces, thus implying that Woo-Jin's narcissistic identification with Dae-Soo is dissolved, too. Woo-Jin kills himself by a pistol and Dae-Soo survives with the terrible knowledge of fate imposed on him. Thus the movie suggests the paradoxical truth of the myth in that only the monster sphinx and Oedipus know the ultimate secret of what a human being is.

목차
Ⅰ. 서언
Ⅱ. 여섯 개의 이미지
Ⅲ. 결론
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  1. , 2000 , 잉여 쾌락의 시대 : 지젝이 본 후기산업사회

  2. , 1994 , 민승기등 옮김

  3. , 1995 , 삐딱하게 보기: 대중문화를 통한 라캉의 이해

  4. , 2002 , 당신의 징후를 즐겨라 : 할리우드의 정신분석

  5. 김소연 , 2001 , 항상 라캉에 대해 알고 싶었지만 감히 히치콕에게 물어보지 못한 모든 것

  6. , 1994 , 감시와 처벌 :감옥의 역사

  7. , 2000 , 예술에서의 정신적인 것에 대하여

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  10. , , http:, , movie.daum.net, news, MovieNews?cmd=1&cate=2&nid=41472

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