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
The President's Last Bang has provoked numerous public discussions, which fall into two main categories-those objecting to film's lack of radical political messages and those questioning the historical accuracy of its details. I ask why it is the subject of attack, and why it is useful to look beyond the debate about truth and falsehood that has surrounded the film. Taking this film as its point of departure, this article examines the role of images in the construction of history, the political effectivity of radicalism, and of realism.
I first argue that conservative critics' charge of the film as fraudulent as a piece of historical representation was not just concerned with historical accuracy, but that this concern was itself an ideological practice. I also reject radical criticisms since their denial of realism as a reactionary political strategy and call for more radical messages in film would overestimate the power of the text and misplace the origins of radicalism and of social change, while underestimating the role of the spectator in the construction of meaning.
I then discuss an alternative, and more productive, theory of cultural politics, one that emphasizes the importance of dominant ideology in relation to the discourses of social change. This is the politics of progressivism, which is the sociopolitical equivalent of realism. Here, my central point is that the conventions of realism with its necessarily close relationship to dominant ideology have become the agents of popularity, and thus have to be taken into consideration in a theory of popular meanings within a mass culture.
I finally conclude that The President's Last Bang is a progressive text because the discourses of authoritarian dictatorship under Park's regime were articulated in a constant tension with those of the dominant ideology of liberal democracy. The presence of dominant ideology and the conventional form of realism were necessary to ensure the text's popularity, but did not necessarily reject the progressive, oppositional discourses.
I first argue that conservative critics' charge of the film as fraudulent as a piece of historical representation was not just concerned with historical accuracy, but that this concern was itself an ideological practice. I also reject radical criticisms since their denial of realism as a reactionary political strategy and call for more radical messages in film would overestimate the power of the text and misplace the origins of radicalism and of social change, while underestimating the role of the spectator in the construction of meaning.
I then discuss an alternative, and more productive, theory of cultural politics, one that emphasizes the importance of dominant ideology in relation to the discourses of social change. This is the politics of progressivism, which is the sociopolitical equivalent of realism. Here, my central point is that the conventions of realism with its necessarily close relationship to dominant ideology have become the agents of popularity, and thus have to be taken into consideration in a theory of popular meanings within a mass culture.
I finally conclude that The President's Last Bang is a progressive text because the discourses of authoritarian dictatorship under Park's regime were articulated in a constant tension with those of the dominant ideology of liberal democracy. The presence of dominant ideology and the conventional form of realism were necessary to ensure the text's popularity, but did not necessarily reject the progressive, oppositional discourses.
목차
〈그 때 그 사람들〉: 두 역사의 충돌
상황의 조건: 사실과 픽션의 정치경제학
〈그때 그 사람들〉의 다의성
상업영화와 문화정치
참고 문헌
Abstract
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
‘리얼리즘’ 미술
한국근현대미술사학
2011 .12
-
20세기 무용예술에서의 리얼리즘 경향과 표현
무용예술학연구
2014 .01
-
초기 사실주의 연기양식의 형성과정 고찰 -‘앙트완느’에서 ‘스타니슬랍스키’까지(1870-1905)
한국연극학
2009 .01
-
정적 리얼리즘: 린 램지(Lynne Ramsay)의 영화
현대영화연구
2011 .01
-
북한 미술에서 리얼리즘 개념의 변화와 ‘전형론’
현대미술사연구
2019 .12
-
연출가 이해랑의 사실주의 연극 인식에 관한 일고찰
한국연극학
2019 .01
-
중국 근대회화의 사실주의와 사실(1919-1957) : 徐悲鴻의 사실주의를 중심으로
미술사학
2003 .08
-
웹툰적 리얼리즘에 관한 탐색적 연구
영상기술연구
2017 .06
-
나운규의 영화연출론에 대한 어떤 ‘경향’적 증언 : 강호의 나운규론 읽기
영화연구
2007 .07
-
3D 애니메이션의 리얼리즘 반영 연구
한국디자인학회 국제학술대회 논문집
2007 .10
-
김광진의 사실주의(Realism) 조각과 리얼리티 연구
인물미술사학
2007 .12
-
중국영화시장에 나타난 변증법적 현상의 지형도
영화연구
2010 .09
-
삽화저널 『그래픽』 작품을 중심으로 본 영국미술에서의 리얼리즘
미술사논단
2009 .06
-
마술로서의 영화-2000년대 영화의 마술적 리얼리티. <내적 안정>과<남아있는 시간>을 중심으로-
현대영화연구
2013 .01
-
소고, 영화색채의 테크놀로지
영화연구
2002 .08
-
‘현실주의’ 화가 쉬베이훙(徐悲鴻)
한국근현대미술사학
2015 .12
-
1960년대 한국영화와 ‘근대적 국민’ 형성과정 : 발전과 반공 논리의 접합 양상
영화연구
2007 .09
-
네오리얼리즘의 미학적 지향에서바라본 장률의 영화미학
현대영화연구
2013 .01
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0