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The Question of The Change Of Hong Sang-Su’s Cinematic World after Woman On the Beach

Vol.8 No.2, 2007.8, 247-271 (25 pages)
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Abstract
This article will discuss the change of Hong Sang-Su’s cinematic world, especially, among his filmography, around Tale of Cinema and Woman on the Beach. This change has begun since Woman Is the Future of Man. We assume the characteristic of Hong Sang-Su’s works before the change as dandyish formalism, but this dandyism cannot be understood as the author’s simple and personal taste; it shows complex aspects which present the subject’s responses to the world, his communication with the whole system of cinema and with the world. The dandyism, as generated by the modernity after Baudelaire, could be better explained as the continuing change of one’s masks during the inter-communication between the subject and the world, rather than something limited to the egoistic taste.
We will aim to show that Hong Sang-Su’s cinematic change begins as the cold disinterest, which characterizes the dandyism, breaks off in his works and as the author’s confession comes forward. We will analyse, in this change of his cinematic world, his experiments of form that try to overcome the formal integrity of his past works.

TOC
1. 들어가며: 홍상수의 작가적 위치
2. 90년대 댄디즘의 풍경 : 기표의 두께 그리고 의미의 부재
3. 매너리즘적 징후
4. 결론을 대신하며: 웃음의 전략과 소통
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