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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 한국사연구회 한국사연구 韓國史硏究 제191집
- 발행연도
- 2020.12
- 수록면
- 1 - 25 (25page)
- DOI
- 10.31791/JKH.2020.12.191.1
이용수
초록· 키워드
오류제보하기
This paper seeks to trace the alienation of Tae-il JEON in Korean society, where the culture of commemoration is excessively developed, and in the film that has made a long history as a media of commemoration, and to investigate its cause and meaning. This paper tried to confirm the inner moment through A Single Spark, produced 25 years after Taeil JEON"s burning himself to death. In the process, this paper explored the gaps and cracks between Taeil JEON and films about him. It was the incomplete 80s and the unrenewed 90s, the absence of records and memories of labor and workers that filled those gaps and cracks.
The scene in which the film transforms his labor movement into a documentary film and a newspaper format makes us guess what this composition intended. Documentary films and newspapers strongly evoke the performance of records and memories, and visualize the contrast between the relative alienation of the labor movement in the democratization movement in the 1980s, or the growth of the labor movement after the June Uprising in 1987 and the silence of civil society. It is enough to see it as a cinematic design. Even though Taeil JEON’s death was an evenement, the problem of historical blanking that was not recorded or remembered and reproduced the death repeatedly aims at the same time the 90s, which could not be renewed due to the unfinished 80s also.
The burning himself to death sequence allows us to imagine the reproduction of cultural memory and cultural politics through recording and memory of death. In the last shot of this sequence, Youngsu"s viewpoint trying to meet the audience through the camera recreates the struggle for memories of the history that has aided death while forgetting too many deaths and the cultural politics of planning a world that they have not experienced due to death. So far, if we have been cheering for the production of a film that was not possible to produce before, and if we have been fascinated by the visual spectacle that flexibly intersects black and white film and color film. Now, it is necessary to record A Single Spark as a film that raises the need to record and remember the sincerity and death that cheers and fascination might swallow.
The scene in which the film transforms his labor movement into a documentary film and a newspaper format makes us guess what this composition intended. Documentary films and newspapers strongly evoke the performance of records and memories, and visualize the contrast between the relative alienation of the labor movement in the democratization movement in the 1980s, or the growth of the labor movement after the June Uprising in 1987 and the silence of civil society. It is enough to see it as a cinematic design. Even though Taeil JEON’s death was an evenement, the problem of historical blanking that was not recorded or remembered and reproduced the death repeatedly aims at the same time the 90s, which could not be renewed due to the unfinished 80s also.
The burning himself to death sequence allows us to imagine the reproduction of cultural memory and cultural politics through recording and memory of death. In the last shot of this sequence, Youngsu"s viewpoint trying to meet the audience through the camera recreates the struggle for memories of the history that has aided death while forgetting too many deaths and the cultural politics of planning a world that they have not experienced due to death. So far, if we have been cheering for the production of a film that was not possible to produce before, and if we have been fascinated by the visual spectacle that flexibly intersects black and white film and color film. Now, it is necessary to record A Single Spark as a film that raises the need to record and remember the sincerity and death that cheers and fascination might swallow.
목차
Ⅰ. 5년, 25년의 시차와 접촉지대
Ⅱ. 미완의 80년대와 갱신되지 못한 90년대
Ⅲ. 죽음의 기록과 기억의 문화정치
Ⅳ. 결론
참고문헌
ABSTRACT
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