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Technology itself has been regarded as an instrument and has been restricted to instrumental terms. But technology also involves a non-instrumental or non-technological aspect. And this non-technological aspect is linked to a realm that has generally been cast as polar opposite of technology. That is, technology is necessarily infused with a living spirit, with soul. In contemporary cinema, morphing effect is the most advanced digital technology. And we remain astounded at the magic of transformation we see before us. Yet these morphing image also remind us that these are artificial effect. Therefore magical effect of digital technology is combination of the irrational with the rational. Before contemporary morphing image, we experienced ambivalent tension that oscillate between the sensory and the logical. Importantly, morphing is associated with omnipotence of thought. This is a conception of mind itself, because an event is occurred by thinking. Above all these image help us to elicit the sense of wonder and attraction of digital technology. The important independent function of this morphing image can be profitably considered as self- reflexive celebrations of film technology itself, and even as a kind of liberatory or utopian moment. Morphing fascinates us. But morphing is not merely a novel computer- graphic mode of configuration, and the morph is also merely a novel narratological figure. Morphing is concretions of contemporary confusions, fears, and desire. Above all that is allegory of late capitalist realism.

Since the debate between Lukacs and Brecht in the 1930s and Brecht's triumphant entry into the 1970s, "the era of political modernism" in film studies, many theorists have stood in with the Brechitian camp of modernism and disclaimed the realist narrative structure with homogeneous beginning and ending. For it has been assumed that the realist narrative structure would position a bourgeois subject and therefore bind the spectator-subject into an illusionistic or ideological discourse with its causal logic. Stephen Heath is one of those theorists, who refutes coherence, closure, and linear or chronological order of narratives as being regressive and absorbing, thus retroactive, but upholds fractured, digressive, and open narratives as being progressive and estranging, thus emancipatory. Concerning Heath's narrative theory as such, we want to note his criticism against the classic Hollywood narrative and the corresponding conception of repetition. Heath's notion of repetition in narrativization is very remarkable because it indicates the palimpsest narrative structure in alternative films which contributes to disperse the narrational coherence, but at the same time it also designates the detailing constructing strategy of classic narrative cinema. Heath tends to assume that the classic narrative produces a passive subject, on the contrary, the repetitive narrative produces an active subject. Is this position appropriate and plausible? Making attempt to answer this question, this writing tries to reconsider the political stain on the realist narrative and think of another possibility of and the reason for using it for the progressive object truly 영상예술연구_ 5호 freed from any kind of text-based formalism. In order to examine the meaning and role of subjectivity in Heath's theory, this writing recapitulate Heath's anti-realist narrative theory and its strategy of the narrational repetition first. In so doing, it would look closely at some of his conceptions like memory-spectacle, performance of the subject-spectator, the novelistic, and the opposite functions of repetition as death drive or as pleasure principle in narrativization. The critical point against Heath's realist theory is that, ultimately, he cannot help ending up with a very small number of anti-realist avant-garde films which does not belong to classical Hollywood cinema nor structural/materialist films. Then it moves on to criticising Heath's theoretical framework by pointing out its Stoicist and formalist aspects and showing out the resistant potentials of the classic narrative and its utopian effect. And this whole critical process would reinstate the significance of propositional content and highlight the different and/or resistant availability of conventional narrative structuration, namely classical Hollywood narrative.

Since 1970's psychoanalytic studies on the cinematic spectatorship have been developed through two opposing approaches: the cinema apparatus approach and the cinema fantasy approach. While the former describes spectatorship as being sutured by ideological interpellation, the latter emphasizes the subversive role of disturbing desire in the spectator. As the Freudian concept of fantasy suggests, the spectator would identify with multiple subject positions whether simultaneously or successively. In contrast to the former approach, in the latter one, ideological operation is actually ineffective and the spectator- subject is already autonomous and subversive. Now in view of late Lacanian insight recently revealed by the works of a group of Slovenian Lacanian scholars, however, such optimistic conception leaves room for doubt. This essay is an attempt to delineate a new psychoanalytic approach on spectatorship, founded upon late Lacanian accomplishments. In order to do this, the essay mainly deals with three inter-related concerns: the logic of symbolic order and the reformulation of the concept of ideology; the reexamination of the concept of suture and instances of suturing cinematic symptom; the ethical act of the real in spectatorship and its relation to the feminine spectatorship. The symbolic order of which the paradoxical logic Lacan articulated several times since 1960 is, properly speaking, different both from a static structure in terms of structuralism and from a heterogeneous open whole that post-structuralism implies. It is not only the structure as not-all that constitutively produces impossible jouissance--object a--as its by-product. But it is also the structure that blinds subject to its constitutive lack, providing her with the fantasy scenario of distancing jouissance. Slavoj Zizek, on this basis, reformulates the concept of the ideological interpellation previously presented by Louis Althusser. According to Zizek, ideological interpellation requires no identification/ subjectivization but functions by implying something supposedly hidden behind strange jouissance. In its light, the pursuit of transgressive desires through the fantasy, rather, supports the ideological function of the existing symbolic order. It is the concept of suture that needs to be illuminated again along with the emphasis on the jouissance in spectatorship. The concept has been misappropriated as describing signification on spectatorship. In view of Jacques-Alain Miller’s proper intention, however, it is worth redeeming as indicating jouissance (and subject as its correlative) in spectatorship. Such reexamination allows us to consider a few important but more or less ignored arguments as embodying instances avant la lettre embodying a new psychoanalytic approach on the spectatorship. Among them, the two noteworthy cases are the study of gaze in Hitchcock films by Pascal Bonizer and that of voice in films by Michel Chion. Indeed, the gaze and voice are the paradigmatic elements of cinematic jouissance. But still more importantly, Slavoj Zizek presents a generalized argument about cinematic jouissance, rediscovering the two cases through his brilliant psychoanalytic insights. Inert, spectral, and persistent Thing as remnants of any cinematic significations is, now, generalized as the minimum or basic level of cinematic materialism. The one of the essential questions that psychoanalytic studies on spectatorship have struggled to answer is how the spectator can/or must break with ideological spectatorship. This new approach, bringing to the fore the spectatorship as jouissance, finds its own answer in the very place that both previous approaches have excluded as impossible. In order to really sever herself from the ideology in spectatorship, the spectator-subject must not merely assume identifications thorough fantasy,but identify with indivisible symptom- jouissance as the ultimate remnant of such identifications. This strategy corresponds to the act of grounding the absolute universal of spectatorshipin that it requires the spectator to find herself in void in the structure of spectatorship. It, indeed, indicates the ethical act in terms of the Real. Such liberating gesture in 증상- 향유로서의영화관람성과그실재의윤리_ 박제철 spectatorship needs to be distinguished from the feminine spectatorship described as multiple and/or fluid identifications. Nevertheless, via Lacanian sexuation formulas, the gesture could open the way toward reformulating feminine spectatorship. In so far as the feminine attitude as the combination of not-all and non-exception can be regarded as essential to feminine spectatorship, the liberating spectatorial gesture mentioned above could precisely be the proper feminine spectatorship. During 1970's and 1980's the psychoanalytic studies on spectatorship had been oscillated between two contrasting approaches. The apparatus approach posited too easily the absolute dominance of ideology in spectatorship, whereas the fantasy approach assumed too early the disturbance of ideology by spectatorial desire. Consequently, neither approach led to really effective arguments concerning the break with ideology and transformation of spectator-subject. Though there remain some further essential questions, this rising approach on spectatorship would deserve concretizing and elaborating, at least, in that it raises to the surface a singular place where we as spectators would not too easily fall into despair nor would they become too early optimistic.

This essay tries to define Korean Blockbuster in historical context. The Korean Blockbuster has been considered as translation of Hollywood blockbuster. It was born in the similar situation with the case of Hollywood blockbuster. In 90's, Jaebul's entering into the Film industry and the change of government's regulation changed the film making convention. With this change going on, the big budget film called Korean Blockbuster came out. The Korean Blockbuster has been considered as cultural industry. T. Adorno and Horkheimer called the big capital entering the cultural field as cultural industry. Cultural industry homogenizes the national culture and represents the ideology of the governing classes. The Korean Blockbuster is cultural industry like Hollywood Blockbuster for sure. It was born in the same situation as Hollywood Blockbuster, using same strategy. But, it has different position as national cinema. Many people consider the Korean Blockbuster as national cinema fighting against Hollywood cultural industry's dominance. So, the Korean Blockbuster has the contradictory position both of cultural industry and national cinema.

In this essay I explore how films, originated from Western modern cultures, have been accepted in non-Western society, i.e. Chosun society under the Japanese imperial period. Film viewing is cultural practices, which are dependent on the contexts and the conditions of reception. In this regard, the ways of viewing and understanding films by the spectators in Chosun period seem to be much more different from those by westerners. In addition to the fact that film viewing is a way of experiencing modernity, the way of consuming films in Chosun society was influenced by colonial experience and internal cultural difference between the local areas in Chosun, resulted from unequal degree of capitalist development. Therefore, a peculiar way of film cultural practices such as programming, showing and viewing films was constructed, which exercised influence on conventionalizing film cultural practices after Chosun period up to the late 1950s in Korea. I would call such distinctiveness of film cultural practices“ locality”of film reception. Locality, here, designates not only beyond the meaning of physical areas but the contextual conditions upon which a certain film is received and understood by the spectators. Some examples indicating“ locality”of film reception are as follows: First of all, the mediated and disjunctive styles of programming films were the keys to the claim that foreign films could be easily received to the spectators in C h o s u n. Along with performances by bandsmen and singers, short films and film footages were shown to the spectators. This style of arranging programs in movie theaters lasted until the late 1950s when popular singer shows and film screenings took place alternately a day. Secondly, most, if not all, residents of fishing and agrarian villages with no movie houses viewed films, which were exhibited by Japanese imperial state in favor of advertising Japanese imperial politics and modern enlightenment. These kinds of propaganda -oriented films had an affect on the ways of thinking and behaving, thus constructing the people ’s identity as colonial subjects vulnerable to the justification of imperialism. Thirdly, many spectators in local areas except for big cities preferred the films performed by Bensi, who conveyed narratives and stories of silent films to the spectators, until the late 1950s in Korea. For instance, there is a record that a number of famous B e n s i organized a S h i n p a theater and toured all around the local areas even in the age of sound films. Finally, owing to the censorship by Japanese imperial state, there were idiosyncratic features for the spectators to go to the movies in Chosun under the Japanese imperial period. Upon the fact that Japanese imperial state censored films before screening and enforced the presence of censors in theaters, it is clear that spectators had ambivalent attitudes toward viewing films in theaters. In other words, the spectators experienced the pleasure of looking spectacles and, at the same time, underwent an anxiety for being punished if they acted contrary to the orders by the colonial power. The significance of this work on investigating “locality”of film reception in Chosun under the Japanese imperial period can be said as a contribution to rewriting Korean film history as a whole.

Theme of incest is one of the most popular motifs in current Korean cinema. Actually not only in films but also in TV dramas, it is very easy to find it. This paper tries to explain the reason why incest, a critical sin in the patriarchal society like Korea, becomes prevalent and even acceptable these days by analyzing A Tale of Two Sisters, Sorum, Save the Green Planet!, and Old Boy. This paper depends on the‘ family romance,’a psychoanalytic concept defined by Lynn Hunt. Family Romance is first Freudian concept which explains the neurotic ’s estrangement from his parents. But in Hunt ’s term, it explains the mass unconsciousness connected to the family relationship which underlies the society in the changing period. Tracing back to the social context in Korea regarding the‘ Korean Modernity,’i t understands modernization in Korea as a re-establishment of capitalism-Patriarchy. Therefore after experiencing the‘ I MF’which has caused social catastrophe not only in the economic situation but also in the almost every part, Koreans feel as if they live in the days of father’s absence. According to Hunt’s argument, the theme of incest became prevalent during the French Revolution when the Father such as the king lost his power in both the real world and the symbolic world.

You Hyun Mok’s The Aimless Bullet has been praised to be a representative realism film in Korean cinema history. Considering that the concept of realism was not properly defined among Korean critics, however, it can be said that The Aimless Bullet was misunderstood to be realistic for its progressive theme and story because of the vague admiration for realism at that time. We need to note its modernistic characteristics by way of form analysis which would reveal the physical technique ignored by critics who wanted it to be a realism work. The Aimless Bullet presents several distinguishing marks different from realism films of classic Hollywood cinemas in its form. The intentional and self- conscious excessiveness of style such as space division, deep focus, formative angle, montages of image and sound, and motif building by repetition makes it to be modernistic or avant-garde. It was called to be realistic because of the need of its times although it is a modernism film. The valuation of The Aimless Bullet, however, was changed at the end of 90's. With criticism for irrationality of the past beginning, criticism for realism which had ruled started. The purpose of this paper is to take part in creating a new discourse focusing on the modernistic style of The Aimless Bullet. It is most controversial in Korean cinema history, which shows not that it is a realism film of fixed narrative but that it is a modernism film which is full of ambiguous and symbolic images.

Historically Speaking, Modernism Cinema was in all its glory in Europe from 1950s to 1970s after the World War II, returning the images whose importance had disappeared in earlier period in the film history. Against the traditional conventions of Classical Hollywood Cinema, Modernism Cinema pursued the alternative forms of cinema and experimented on the expressions of the images rather than the narrative. Red Desert(1964), directed by Michelangelo Antonioni, one of the representatives of Modernist film directors, has the very characteristic styles of Modernist cinema. Through the analysis of the film, this article deals with the subject of formality, aesthetics and historicity in Modernism Cinema. First of all, the film breaks the typical structure of narrative, which was emphasized in classical cinema, excluding the actual incidents or episodes in the film narrative and presenting an ambiguous conclusion. The film does not only question the conventional realism but also investigates the authentic reality in cinema and the relationship between them. Thus, the ambiguous images became the keys to experimenting the forms of Modernism cinema, and the images of the real world make the protagonist nervous and hysteric in the film. In order to achieve the obsessive angle of Juliana, the heroine of the film, 'free indirect point-of-view shot', which is to sequentially juxtapose the two different and unrelated points of view of the same image, is used as stylistic operation. By means of this stylistic device, the director has been able to represent the world seen through his eyes. Moreover, the possible confusions in the points-ofview disturb the mechanism of suture which constructs subjectivity. Red Desert p u r s u e s aesthetics in its form, not only presenting the obscure images of industrial society but also 영상예술연구_ 5호 distorting the constriction of color, lines and figure. Especially, the technique in the use of color enables the multi-dimensional analyses of the meaning of color, since it does not attempt the realistic effect in color. In the historical sense, Modernism Cinema shows the bourgeoisie's experience of modernity in Europe after the World War II. The immorality of characters in Red Desert also represents the times of suffering due to the crisis and the absence of morality.

In the 2000s, the‘ Japanese Animation ’, called Anime and ‘Otaku Culture’ have received attention in the West contemporary art world. The exhibitions as <The contemporary art and anime> , <Super Flat> that the Japanese artist, Takashi Murakami whose works originated from the traditional Japanese art such as Ukiyoe of the Edo period curated, have been spotlighted in the West contemporary art world. Ukiyoe is, especially, woodblock print of Katsushika Hokusai who, a Japanese cartoonist and woodblock prints artist, influenced artists of the impressionism and Art Nouveaux in the context of Japonisme prevailed in America and Europe one hundred years ago. Ukiyoe, with the emphasis of the‘ f l a t n e ss ’of forms and colors, has also influenced Japanese animation and manga, and many contemporary artists have begun to use the style,‘ f l a t n e ss ’of new trend ‘Tokyo-Pop’, that Murakami re-created after pop art of the 1960s. But, this interactivity of animation and contemporary art seems to be more expanded in the digital media time. The style and form of animation have deeply influenced the new generation artists using digital media as video art. experimental film etc.. Furthermore, in the context of viewing and installation methods, the interactivity of them has been expanded to the realm of the film festivals and exhibitions as Senef, Resfest, Future Cinema exhibition of ZKM center in Germany, etc.. The purpose of this study stressing on the interactivity of animation and 영상예술연구_ 5호 contemporary art lies in the future study on the interactivity of animation, video art and cinema as digital media. Also, it is expected to map new discourse about the ‘artistic’positioning of animation as the popular culture, in animation studies of Korea.

The history of Korean animation has been treated as a byproduct of film (young-wha) and the comics(man-wha) or even sometimes been ignored to have its own history up until today. As the Korean term for animation, “manwha youngwha (the comics film),” that designates its position as being in between comics and film, presents its characteristics, animation has never sat on the driver's seat in history. It is not only because of its in-between position, but also because of the policies on animation. Even though the animation has been influenced by the film industry, policies and regulations from its birth and during its growth, it has only been considered as a children's genre, that is, same as comics. Thus, Korean animation was included in industrial estimates but not taken into theoretical, critical or historical consideration. It is largely due to the definition of animation that is accentuated on its relations with children and educational aspect. Such perspective has led the film history to have a double standard and contradictory attitude toward animation. Recently, as animation has been recognized as an independent medium, there is a growing atmosphere supporting the production of animation for theatrical release which had almost disappeared since the 1990s. However, it is hard to say that there exists a market for animation in Korea. It is partly because the feature length animation had not been produced enough to obtain stable audiences but largely because animation has been dependent on the film policies as a byproduct of film industry, and suffered the deep rooted bias stemmed from journalists and critics who treated it only as a children's entertainment, which had negatively influenced the general audience's view. Therefore, the reason why animation is unable to take a stable position is not due to its poor scripts or the marketing or production systems, but to the long history of prejudice agains“t manwha youngwha.” This article deals with the two periods when Korean animation had its blooming days but also during which such prejudices had formed: the mid 1960s, the beginning of theatrical feature animation begun with Hong Gil-dong, directed by Shin Dong-hun in 1967, and the late 1970s, the era of Robot Taekwon V , directed by Kim Chung-ki in 1976, which led to the General Tori series begun in 1979(also directed by Kim).By retracing the position of feature animation in between the film industry and policy, and the journalistic and critical reception, I will examine the historical meaning of Korean animation. In order to take an independent place in Korean film industry, animation needs to be recognized in its own place in the Korean film history by historically reevaluating on its past that shared the same industrial regulations and policies with the film. By doing so, deep-rooted prejudice against 'manwha youngwha' could be corrected and Korean animation can find its place in the present.

Photography was invented in order to record events. Documentary photography is in the sense the nearest to the original purpose. Photography is more intimate with people nowadays, thanks to the astonishing improvements on techniques and instruments. Digital technology brought about a great change in the recognition of photography. In this paper, by tracing every step of the history of photography, we would see how documentary photography has been changed in its fundamental notions. I defined a new term "individual documentary", which has been drawn from the changes in technology as well as in the recognition. Rapid developments of photographic technology have led people to confusion. This research would serve as a guide to understand changes on digital photography and new notions on personal documentary.