Unthinking Eurocentrism

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.