초록 열기/닫기 버튼
This article comparatively examines the cinematic forms of Lee ChangDong’s Milyang and Kore-eda Hirokazu’s Shoplifters in an effort to grasp the ways in which the films respectively formalize the emerging organizational dynamics of family under the toxic pressure of the “myth” of modern model family. While the former’s formal experiment pivots on the dialectical narrativization of ShinAe’s “false consciousness” and at the same time of her resistance against the ideological oppression of patriarchy, the latter focalizes the incommensurability of a pseudo-family’s ethical aspiration and its undeniable economic motive that grounds its very formation. While both films employ documentary technique to carve out the alternative social dynamic that cannot be represented under the “normal” family structure and they refuse to be subsumed under the grammar of “genre movie,” they differ from each other in their utilization of the documentary element. For while the former’s documentary realism informs the constant continuity of inside/plot and outside/reality and thus highlights the permeability of the characters’ life and the spectators’ everyday life, the latter’s realism absolutizes the cinematic spaces that the characters occupy and thus demonstrates the undeniable reality of the spaces.
키워드열기/닫기 버튼
family, community, form, realism, drama, Milyang, Shoplifters
