복숭아상자

“If cinematic narrativity can be construed as a signifying process that reductively aestheticizes or essentializes the pain of others, turning the cultural and/or historical particularities of people’s experiences into a series of universalizing tropes or moments of temporary contemplation for the comparatively privileged viewer, then the omnibus film – as a gap-filled text comprised of two or more episodes (each supplied by a different director) – can serve to remind audiences of the challenges involved in linking discrete sites of embodied suffering while acknowledging the twin commitments bound up in the idea of human rights: universality and equality (Orend 2002: 16) (109)

It should be noted, though, that while If You Were Me perhaps obfuscates or obscures the specificities or contingencies related to particular subjects (including pedophilia, the subject of the film’s second episode), its adumbrated, gap-filled structure makes it possible for audiences to fill in missing information and forge connections between seemingly

disparate people, a manoeuvre that has ethical implications. Because of the combined length and brevity of the form, as a feature-length motion picture composed of several shorts, the omnibus film paradoxically facilitates the spectatorial act of ‘crossing over’ by withholding information, by sketching in only a few details, by allotting open spaces in which viewers might dwell (if only momentarily) as active participants. (121-122)

Daivd Sott Diffrient says that a form of omnibus film can fulfil the text gap and remind the audience of the idea of human rights films: universaility and equality. ->  여섯 개의 시선 한글 제목 설명 뒤에 추가.

The politically charged omnibus feature has proven to be a perennial means of both challenging official policieis or prejudicial attitudes and solidifying public consensus while mining the many economic and material resources made available through Europe’s common market. (111)

Omnibus films increasingly lent themselves to collaborative, cooperative efforts to shore up a sense of solidarity in the face of historical, political and social change.  (111)

Such examples attest to the importance of episodic works in capturing a wide assortment of perspectives on contemporaneous moments of political contestation, social unrest and/or industrial transformation, as evidenced in subsequent productions like Guang yin de gu shi/In Our Time (1982) and Er zi de da wan ou/The Sandwich Man (1983), two films that jumpstarted Taiwan’s New Wave of the early 1980s, and Echoes of Conflict (1989), a collection of three short films (directed by Gur Heller, Jorge Johanan Weller and Amit Goren) about the Israeli–Palestinian conflict. (111-112)

However, like the omnibus films comprising the ‘If You Were Me’ series, it paradoxically waters down the language of human rights (and perhaps even undermines its legal foundations) by suggesting that chauvinism, narrow-mindedness and a general disrespect of other people’s feelings are sufficient in satisfying the requirements for humanitarian intervention. (112)

As a ‘harbinger of the future of generalized film distribution’, one that accords with Wong’s

suggestion that an emergent type of ‘transnational public sphere’ can be conceptualized ‘through a more concrete transnational public power’, such diversified film events – occurring within and between different countries and regions of the world, and engaging a variety of ‘subaltern counterpublics’ within ‘parallel discursive arenas’ (Fraser 1992: 123) – are what mark human rights festivals as uniquely porous spaces conducive to the formation of ‘alternative public spheres’. (113)

Speaking specifically about the Human Rights Watch Film Festival, she (Cindy Hing-Yuk Wong) explains that its programmers are ‘invested in using cinema to “uncover the truth and make justice possible”’. That goal – an attempt to transform the medium of motion pictures into ‘an agent of dialogue and change’, one that ‘has the power to do good in society’ – is shared by the producer and distributor of If You Were Me and was likewise promoted when they and the contributing film-makers were interviewed after its theatrical release. (115)

Citing Cindy Hing-Yuk Wong, Diffrient points out that the intention of filmmakers’ engagement with If You Were Me seems to stem from ‘an agent of dialogue and change’, one that ‘has the power to do good in society’.  -> 감독들이 참여하게 된 배경.

Nam’s comment effectively synthesizes two particular subcategories of cinematic transnationalism described by Mette Hjort, who argues that both an ‘auteurist transnationalism’ and a ‘modernizing transnationalism’ are evident in the institutional frameworks or discourses surrounding omnibus films. Whereas the former type emerges when established film-makers embrace ‘a particular kind of collaboration beyond national borders’ (as the celebrated auteurs Pak Ch’an-uk and Pong Jun-ho have done through their

contributions to the multi-country omnibus films Three … Extremes [2004] and Tokyo! [2008], respectively), the latter arises when a ‘significantly transnationalized film culture becomes a means of fueling, but also signifying, the mechanisms of modernization within a given society’ (Hjort 2010: 22–24). (118) -> 남규선 인터뷰 뒤에 넣을 것 (감독 찾는 게 쉽지 않았으나 성장한 한국영화의 힘이다.)

its contributors – much like former President Kim Dae Jung, and despite their good intentions – could be accused of failing to ‘distinguish “human rights” from and in relation to other rights’ (Close and Askew 2004: 22). Just as Kim Dae Jung, in a pre-Presidential paper written for a 1994 issue of Foreign Affairs, and then in a 1999 speech that he delivered at an International Conference on Democracy, Market Economy and Development hosted by his government and the World Bank, ‘did not explicitly define or otherwise indicate a generic, categorical notion of “human rights”’ (Close and Askew 2004: 22), so too does the film occasionally muddy the waters with its emphasis on marginalized outsiders simply trying to fit in. (121)

è  시선1에서 합의가 충분히 이루어지지 않음.

Depth, traditionally conceived of as a kind of vertical plunging into profundity or ‘geological’ search for meaning below the surface, is thus made horizontal or ‘geographical’ in the context of omnibus features. […] What this (If You Were Me) and other omnibus films do is move beyond the temporal-historical markers of vertical depth to point towards the spatial-textual coordinates specific to what I call horizontal depth, which extends signification across an array of different environments or milieus, segmentally emplotted and transtextually linked. […] In transiting from one setting to another, the

viewer not only engages in a kind of intersubjective cosmopolitanism, increasing his or her capacity to see similarities among the text’s visible differences, but also metaphorically enacts, at the ‘local’ level, the kind of border-crossing

movement inscribed in transnational flows. Indeed, the omnibus film is the most ‘trans’ of all transpositional cinematic-cultural forms, collapsing transmedial,translinguistic, transgeneric, translocal and transnational modes in the space of a single feature that unites multiple voices and visions.

è  옴니버스 영화가 가지는 특징은 horizontal depth를 만들어내는 것. 즉 ‘trans’ 한 성격을 그 자체로 가지고 있다. 그리고 그 갭을 메우는 것이 관객의 engagement. ‘horizontal depth’로 인해 universality와 equality를 관객이 보충함. (인권) 

Many oppressed groups have used “progressive realism” to unmask and combat hegemonic representations, countering the objectifying discourses of patriarchy and colonialism with a vision of themselves and their reality “from within.” But this laudable intention is not always unproblematic. “Reality” is not self-evidently given and “truth” is not immediately “seizable” by the camera. We must distinguish, furthermore” between realism as a goal – Brecht’s “laying bare the causal network” and realism as a style or constellation of strategies aimed at producting an illusionistic “reality effect.” Realism as a goal is quite compatable with a style which is reflexive and deconstructive, as is eloquently demonstrated by many of the alternative films discussed in this book. (180) -> 박찬욱, 김동원 영화 /무산일기의 리얼리즘

Although total realism is a theorectical impossibility, then, spectators themselves come equipped with a “sense of the real” rooted in their own experience on the basis of which they can accept, question, or even subvert a film’s representations. (182)  -> 관객이 보충하는 리얼리티  (한류?)

What all these instances share is the semiotic principle that something is “standing for” something else, or that some person or group is speaking on behalf of some others persons or groups. On the symbolic battlegrounds of the mass media, the struggle over representation in the simulacral realm homologizes that of the political sphere, where questions of imitation and representation easily slide into issues of delegation and voice. (183)  -> 재현의 정치적 측면 / 박찬욱, 김동원 영화.

Representations thus become allegorical; within hegemonic discourse every subaltern performer/role is seen as synecdochically summing up a vast but putatively homogenous community. Representations of dominant groups, on the other hand, are seen not as allegorical but as “naturally” diverse, examples of the ungeneralizable variety of life itself. (183) -> 시선 너머의 재현과 연관해볼 것.

Park does so through sophisticated nonlinear storytelling that cultural theorist Rob Wilson perceives "is sublime in the technical sense, meaning it confronts traumatic and underrepresented materials haunting the Korean social system of capitalist global modernity." However, with an increase in personal autonomy, much civic and artistic dialogue becomes muted for the spurious, messy, and constraining end goal of corporate capital, which accommodates the agenda of neoliberalism in South Korea. [...] For example, in Park's SFMV^[각주:1], Kyu Hyun Kim misconstrues the film as being "unconcerned with the evils of capitalist exploitation," yet, on the contrary, I see this particular film constructing a narrative about this very exploitation. These victims whose "refusal (or inability) to transcend [these] subjective perspective [do not] enter into communication with one another";this happens because of two central symptoms of neoliberalism that Kim misses: self-reliance and reserved behavior that dictate antisocial communication amongst its characters. Thus, these symptoms rarely present any alternatives for its protagonists. And like the characters in Park's SFMV, it is no wonder that the neoliberal agenda in an actually existing institutional context has made a creative compliance to apolitical critiques like Kim's all the more prescriptive for the time. (221)

According to Keith B. Wagner, Park Chan-wook's SFMV is political text cause it reveals two symbolism of neoliberalim. one is 'self-reliance' and two is 'reserved behavior that dictate antisocial communication amonst its characters'. (Wagner, 2002: 221) Therefore, political representation in neoliberailism is more complicated because of the character of neoliberalism itself.

This scene is shot from the point of view of Ryu, also recently laid off, who is wating in a nearby car and plotting the kidnapping of Dong-jin's daughter with his girlfriend, Yeong-mi. A long shot positions Ryu in such a way that the viewer does not empathize with this act of physical desecration by the labourer but instead as questioning whether their kidnapping plan will work with all this sudden attention brought by Peng. In many ways, this scene finds a corollary with Gramsci's description of the turbulent time in Italian history, after the Great War, when workers started to become an indifferent mass, often resorting to violence and crime. These workers lacked a "clarity and precision to form a workers' consciousness" when social movements at this time were weakened by the capitalist consolidation of factories and worker sentiments for equality waned. In similar ways, the contemporary workforce of Park's neoliberal Seoul lacks the clarity and stamina to counter, or at the very least ability to challenge, the IMF's restructuring. In the neoliberal present of Park's South Korea, work is taen away and its employees are forced to pursue individualistic labour production, or more crudely, predatory action to attain and produce their own brand of capital (child abduction in this case, leading to monetary ransom). (227)

 For Wagner, neoliberalism in Park's films are characterises as fragment. For instance of SFMV, Wagner avers "인용구 삽입". Likewise, invisible subject at the front of camera are more alienated and fragmented, which seems to emphasises neoliberal character.

However, for the suture of the diesesis, Park shows the entity of idealised Chandra's hometown.