초록 열기/닫기 버튼
여전히 전태일과 노동은 한국영화에서 낯선 타자이다. 그런 점에서 영화는 딱 전태일이 분신했던 1970년대에 멈춰서 있다. 영화를 제작하는 사람도, 영화를 관람하는 사람도, 어떤 영화를 만들고 어떤 영화를 볼지에 관한 강고한 상호 약속으로 인해 1970년에 고스란히 머물러 있다. 전태일과 영화 <전태일>의 간극, 균열, 시차 등은 영화의 고유한 매체성이라 할 수 있는 ‘그럼에도 불구하고 아름다운 세계’, 즉, 환영 또는 물신화와 짝패이며, 한국영화의 고질적인 풍토병이다. 특히, <아름다운 청년 전태일>은 1987년 6월항쟁과 바로 뒤이어 온 노동자대투쟁 사이의 온도차와, 그럼에도 불구하고 연이은 노동운동의 치열함과 침묵 사이의 대비를 고스란히 반영하고 있다. 그러니까 1995년은 두 가지를 의미하는 바, 미완의 80년대이자 갱신되지 못한 90년대로부터 도둑맞은 가난과 죽음이다. 김영하의 단편 <전태일과 쇼걸>은 일찌감치 이를 간파한다. 80년대 학생운동에 투신한 채 90년대를 맞이한 주인공은 <아름다운 청년 전태일>과 <쇼걸>이 나란히 걸린 서울극장 앞에서 사회적 타자들이 상품처럼 전시되기 시작한 90년대를 목격한 뒤 자신의 80년대로부터 빠져나온다. 이 글은 자본주의의 희생양인 전태일이 영화라는 자본주의의 욕망과 겹치는 양상, 그리고 과거의 사건에 대한 90년대 문화적 기억의 생성과 변모 등에 관해 논의하고자 한다.
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.
키워드열기/닫기 버튼
Tail JEON(1948~1970), A Single Spark(1995), June Uprising in 1987, burning oneself to death, Struggle for Memory, Cultural Politics of Recording and Memorizing
