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1. Movies as Genre
(1) Movie format
Consideration of the film format as an expression is important in the relationship between the problem as a practical alternative in criticizing the ideology of a society and its methodical material. In other words, is there a problem in which format regulates content, for example, why do you have to look in the mirror and pop a pimple when you meet a woman through a chat on a PC communication? When trying to explain a theory or show a narratives story, the movie uses a genre-style problem as a format such as camera angle, lighting, space and placement of objects. The fact that a movie is movie-like and that it is a good movie is valid when it takes advantage of the formal characteristics of a movie that cannot be seen in other genres.
What matters in the movie is not the reproduction of the same space as reality, but the problem of the manipulated image. When describing a walking person, the film can have many meanings by showing a part of the person, such as 'foot' (i.e., foot here is the expression of the sense of motion or the multi-meaning representation of the social infrastructure). This refers to the portrayal of people and things that have been transformed in the 'created situation' and 'new thing' rather than as they seem (from the camera side, in such a way as the isolation of the screen area or the restriction of the gaze of the audience).
The unit of composition of the film is short, and the shorts are arranged step by step rather than in successive forms. The gap between the short and the short allows for an imaginary space in which the audience participates as a joint. Here comes the montage theory. The montage is a means of on-screen adhesion, a means of explaining the story situation, an imperceptible and hidden one, and basically acts as a rhythm that gives the audience a space of imagination. (Here's the famous theorist, Eisen Stein. In his film "The Strike," the situation in which strikers are brutally slaughtered and slaughtered by soldiers is conveyed by inserting a bull's throat in a slaughterhouse. The blood flowing from this bull slaughter scene is to induce the audience to think about capitalist brutality or the situation of workers.)
Movies need to pay attention to their unique materials and forms when solving the problems of stories and plots. No matter how sincere the movie is, even in the documentary, realistic credibility is destroyed. This refers to how closely the genre's problem as an art form is related to the problem of special material selection and the problem of expression content. For example, plot developments in comedy movies are outside of the story (comedy films are being funny by mobilizing genres that can be expressed as movies outside the story).
Unlike in the play, you can see the details (expression, subject) and so on, easily move the place as imagined, and see characters and objects through various lights with various faces on various streets.
The screen is an imaginary space and there is no immovability fixed in it.
Movies should have a kind of speech in the form of time perception, and they become the language of the film (i.e., the gap between the short and the short becomes the imaginative space for the audience). Maddie starts with the smallest component that makes up its own characteristics and reaches the structural part that can actually be perceptible. Movies are inherently artificially built conditioned by transforming nature into materials and exist in some ways based on these 'secondary' characteristics.
Movie language has a conditional characteristic that is more closely connected to reality than other genres of language. The basis of the film is familiar with everyday use and is immediately understandable on screen. The problem is the fact that it is too meager and multi-medical. In addition, it has a tendency to create semantic systems that are not used in everyday life.
The continuity of the film has unique characteristics because the montage causes intermittent connections, not perfect connections.
Here we meet the problem of 'psychological semiotics'. It is to analyze the relationship between the movie and the audience's identity by reading all the elements that appear in the movie structure in detail. It could be a story, an actor, a stage space, a lighting, and an actor's movements as a signifier, and a message or meaning from the audience's collective consciousness. Efforts are needed to focus on the traces of ideology contained in the movie by studying a series of values, beliefs, and ways to see the meaning of symbols in the movie. Further discussions require knowledge of semiotics and unconsciousness, so we would like to explain them and develop them.
(2) Imaging media semiotics
By being associated with structuralism by Soshir, semiotics and linguistics are expanding its scope as criticism of Cleans' economic and social diagnosis.
When we say "school," the word "school" becomes a sign and the actual school becomes a sign. The problem is that when we use the language, we have an image of a school in our heads, and the school is a structured school that is determined politically, economically, and institutionally. And while the image of 'school' is the same for individuals, each school imaginable has its own personal differences. There is room for misunderstanding and interpretation.
Semiotics is the study that attempts to explain the images and imitations produced by the current visual media and is useful in revealing strategies or myths hidden in those images. For example, strategies using these images are relatively visible in advertising (such as commercialization of women).
Power, stamina, power, power, power, and control are the inner characteristics of language. In particular, these dictionary meanings are called "exceptional beauty" and "exceptional beauty" is objective, so for example, when you hear the word "POWER," the meaning is clear regardless of who hears it or where it is heard it. Depending on the reader's past experience, the meaning of the word 'symbolic meaning' differs. For example, hearing and feeling the word "POWER" from a person without power is any deficiency or inferiority complex, or connotative meaning such as hatred or fear for a person in power. Implicit meanings actuate ideologies (or myths) and create cultural groups. One banner calls for a number of flags at more than two different levels.
Because one banner has different ideas (concepts or concepts), it is generally understood that they are multi-meaning. However, it is an abstract idea or feeling that is invisible to our eyes and cannot be touched by our hands, so it does not appear in our cognitive processes on its own. For it to be expressed, it must be published in something possible to perceive. A flag is a carrier of a flag. So the combination of signage and signification is an inevitable procedure for the expression and delivery of any idea or feeling, otherwise meaning.
For semantic action, a symbol is obtained when a banner and a prayer are grouped together. For example, the 'POWER/MASTER' beer brand itself is a deliberate symbol of 'strong dominance' and 'intention'. Symbols have the power to represent something else. By relying on this power, we can express experiences with symbols and deliver them to others or store them in appropriate media.
The media is a technology that helps to manipulate symbols.
Two basic prerequisites are needed to properly understand the codes of abstention and deception. The first is 'promise'. You need to know which promises are linked to the signage and the significance. But this promise is only known among cryptographic users and is a secret to others. The code (symbolization) inserts a lie in the symbol to deceive others and causes confusion in others. Thus, semiotics are the act of breaking the code that makes the symbol like breaking a walnut egg to find out the inside story of the promise. Second, you need to know the 'situation' in order to understand the text of the symbols. False can happen when 'promise' and 'situation' become ambiguous. Why did he use the words 'POWER' and 'MASTER' in the previous 'P/M' example? We need to find out what intentions are hidden in beer products that use these signs in this brand.
Symbols are made up of a combination of flag and flag, but the first thing to be captured in our perceptual action is a flag. Rakkang insists on the superiority of the votes. There are three important things.
First, the signification makes no use of it, or it acts of it. Second, once the intention is understood, the signification may be unnecessary, but the meaning we grasp may vary depending on how the signifier expresses the intention and how it carries it. In other words, the form can be changed in art and the content can be changed to extremes. Third, flagging is inherently 'silver' (which is expressed by another plane) but sometimes serves as a 'replacement'. '란환' means 'representing the whole connected to it by some part' and ''인접성.'
All symbols are fundamentally metaphorical. The fundamental characteristic of metaphors is that they are independent discontinuities because they belong to different worlds. Due to the influence of visual media, there are countless people who regard metaphors as true.
The arrival of this truth is due to the fact that the real realities out there have been 'involved' by the media. Two different worlds of abstinence and righteousness overlap in one continuous body by 'nepa'. You'll be confused as if the metaphor were directly in contact with some substance. False is caused by the ambiguity of the metaphor. The question is how to amplify the truth under these conditions and overcome the lies that are deliberately produced (reference: 'Nepa' is the concept of Altuse).
The concept of 'nepa' begins with the fact that after the middle of 20C, the real world was internally destroyed by the media.
2. Culture of our time
(1) Governance of Culture: Cultural Classism in Bourdieu
I would like to talk about the social use of culture, which is used as the dominant strategy of the ruling class in the later capitalist society.
In addition to burdi, the post-capitalistic society becomes impossible to maintain control only by economic means as society develops so highly that the governance structure is reproduced through a culture of relative autonomy with the economy. In other words, there is no way out of the late capitalist game of culture, and I think class structure is reproduced in it. Therefore, rather than discussing the working class, the class struggle itself was considered a problem with the struggle over cultural and symbolic goods, and the public who lacked cultural capital could not participate in it.
In the capitalist stage of the past, economic resources and cultural capital were neither institutionalized nor separated from each other. In the past, economic governance relationships are direct, personal and reproducible simply by the use of violence in everyday interactions. Economic capital, which had been used as a means of controlling others to come to modern post-capitalism and secure legitimacy, disguises itself as symbolic and cultural capital, such as individual honor. But with the emergence of commercial capitalism, the market institutionalized economic capital and made it objective and impersonal. Industrialization has also made cultural capital autonomous from economic capital. The increase in education and income of the subjugated class created large-scale cultural consumption of the masses and consequently led to the independence of the cultural institutions of the ruling class.
Producers and producers in the field of pop culture production by the subcontrolling classes are being stimulated by the economic interests of pursuing the maximum possible market. But alongside them, a separate area of limited production emerges and cultural goods are produced for other cultural producers in the pursuit of symbolic interests by adhering to the de-interested aesthetic standards.
As we entered later capitalism, as a result, the legitimacy of class domination required a return to cultural false recognition of economic capital.
*False:: (misrecognition) :: refers to what the process of being perceived as power is not objective, but justifying in the eyes of those who accept it, the ruling class strengthens the existing class relationship by making them aware that their dominance is justified through the monopoly of almost all cultural capital. The Frankfurt School believes that culture plays a role in covering up the existing unequal structure as it allows all classes to enjoy a certain amount of cultural life through mass production in later capitalist societies, where culture is further defined as a more autonomous concept and used by the ruling class through a symbolic struggle of "false recognition" beyond the function of simple concealment.
The working class without cultural capital has very limited opportunities to participate in the cultural struggle. Thus the cultural struggle in this society is confined within the bourgeois sect, and these struggles within the classes basically never challenge the capitalist class structure. This is because all bourgeois factions have an interest in their union domination of the working class, either unconsciously or consciously. In this struggle within the ruling class, what is important is the social justification of certain governing principles, with strategic intent to expand the kind of capital each branch owns. Thus the struggle is bound to be limited to the field of symbolic struggle, and only the owners of symbolic capital participate in this symbolic struggle.
In a capitalist society, the subjugated classes only have a taste for cultural practice and dialogue that are actually placed before them by their subordinate status. The masses thoroughly internalize their dominance by relying on the symbolic means provided by the outside culture in which bourgeois intellectuals represent and organize their interests.
The cultural control of the present state is followed by the manipulation of the image of language. In other words, if an image is created for one object, it becomes more important reality. It is characteristic of this society that the opposite does not happen.
These images require compliance once. In other words, the surrounding objects are required to be shaped according to the frame of the image. Here, images have a meaning that is almost similar to the prejudice or preconceptions spoken in psychology. The act of trying to imitate others is a phenomenon caused by images. How many of the public are trying to imitate the images in the ads? Is the standard of public action true to this subject of conformity? Is it more reliable than just saying? That's what it means.
The image is a seductive space with a virtual appearance in place.
The image has a fantastic element that not only allows the public to produce free deceit, but also satisfies us with self-prediction. But what images require is deconstruction. That is to say, oblivion to being governed and to break through the facts given.
Images are spaces of transformation. The public deceives itself in a ridiculous sense of sanctifying these errors within the fence of freedom.
Those who are obsessed with the opaque sign of the image are displacing and deceiving themselves.
Let's explain the magic of language imaging.
This is almost explained in semiotics.
Symbolics describes the images and realities produced by current visual mediums. I would like to raise discourse around images to point out the myths they are hiding. It is important that symbols presuppose certain feelings or ideas. When we say "chicken," the word "pure chicken" is a sign and the object "chicken" is a sign. However, each individual has a different image when it comes to the real object, the chicken.
In other words, there can be many kinds of people, such as those who think of eating chicken and those who think of moving chickens in the countryside. This indicates that while symbols allow one freedom, they can be combined with many meanings.
·power, · stamina, ·power, power, ·power, etc. What would happen if the media linked these images to the ruling class? Of course it's actually happening! The association of these false ideas is becoming the basis of our actual control of life. The question is how to amplify the truth under these conditions and destroy the deliberately produced lies. These semiotics discourse can only be destroyed when it is revealed. This requires semiotics practice.
The perceived content of the media is not direct based on any substance but secondary to the interpretation and remaining of the media.
Video technology has become the eyes of the public.
(2)Cultural Theory: Focusing on Altusair's Theory
Culture has been imaged. Numerous fake events (e.g., the 20th anniversary event) are about images that act as ideologies to us, although they also mean the liberation of places. In other words, this image tells us that we live in a society that surpasses reality.
What deconstructivism calls "an era in which fake reproduction surpasses reality." How can we represent political alternatives in this age when even the revolutionary movement has been imaged and virtualized?
These discussions also relate to the issue of breaking ideology and personal communication that has been raised since the emergence of structuralism in the 1930s. There is a hegemony theory as a theory of political standing.
It is said that the identity of the working class does not constitute politics, but only political practice, pointing out that the definition of hegemony in Altuxerre defines what the political cause is reproducing or representing. This is nothing short of saying that only actions practiced through semiotics training to realize the imageized reality can truly transform and influence society.
In this language life, the subject is power and unconscious, such as the state, the people, and the gods. In the structure of discourse, which is a language life system, freedom becomes the freedom of the bourgeois. The form in which each individual is thought to be the principal is achieved by equating himself with this discourse structure and now has an ideological effect of considering himself as his cause. The image of language acts as a means of maintaining power by those in power, so this effect brings the oblivion and ideological oblivion of the material process to the subject. This is no less than the logic that works to be reproduced in a class society.
The characteristic of the present society is that as class contradictions are hidden, solidarity in this society is only possible by revealing that each hegemony individual has an unequal development in their respective interrelationships and by communicating with each other.
Images hidden in language are realized not only in consciousness, but also in real life. This is called the 'meaningful effect'. The meaning of language is not given in advance, but must go through a discourse process, which arises because it is only possible for each individual to participate in the discourse structure. The language process is a relationship between exercising and being exercised, and is also a 'will for power.' This expression of will means a hypothetical relationship, and at the same time, whether conscious or not, is the actual relationship between the body and the body.
The ultimate problem lies in an attempt to make the process of language and semanticization exclusively central to the production of social structures.
There is a risk that all the efficiency of social and economic and political practice will disappear under circumstances that advocate semiotics production of meaning. (ideology here is a system of representations, false consciousness, of virtual relationships that individuals have about actual conditions of life.) This is one of the characteristics of current capitalism, which Fredric Jameson has called "post-capitalism."
* A discourse construct refers to a situation in which within a given ideological structure, what can be said and what should be said (in the form of speech, reporting, pamphlet, report, platform, etc.) in any given phase as defined by the state of class struggle.
3. The image of a woman in a movie
The image of women reflected in Hollywood movies can be largely categorized into girlish and whore-types. This has only been slightly altered according to the demands and times of conservative social ideologies.
For example, when women need to fill the void in the male workforce during World War II, Hollywood movies emphasize the "women's power." After the war, however, women had to be sent home to find jobs for men who returned home, and so the strength of women, which had been emphasized until then, began to be destroyed. As a result, there are two images of women on the screen: women as scapegoats and menacing villains.
But this type of research is criticized not only for relying too much on an empiric perspective, but also for grasping too simply the process of accepting a film's production mechanism or bureaucracy. Therefore, it is necessary to explain how the production mechanism of film affects female representation, and how those representations reflect the prevailing ideas and unconscious impulses of a society.
(1) Female Image in Korean Movies Prior to 90 Years
In the '70s,
Director Lee Jang-ho's 1974 debut film "Hometown of Stars" is often referred to as the filial piety of "Hostile Water," which depicts the sex of a woman who has been replaced by commodity value. Kyung-ah, an ordinary female office worker, is played by her boss, gradually entering the path of prostitution and finally falling to ruin in a melodramatic way, as Kyung-ah is comparing the pleasure industry inevitably formed as a substructure of an economic saint, and the concept of sexuality that has begun to become instant.
In this movie, men are perpetrators. Kyung-ah is divided into two victims, and from the day she loses her virginity, a woman named Kyung-ah ends up committing suicide while moving around in the dark. Although it is based on a Confucian moral view that loss of purity leads to loss of human beings in women, it is meaningful that the phenomenon of commercialization of sex in the 1970s was put at the forefront.
In 1975, director Kim Ho-seon's "The Golden Age of English" is a women-centered film that has somewhat overcome sentimental limitations in "Hometown of Stars." The problem of the underprivileged is more emphasized than the commercialization of sex, with figures who can be tied to the port of Dongryu, such as young men's changsu, as the woman of Youngja falls into a hit whore who cut her arm while working in a factory and tries to survive in a battle of acorns. The lives of the poor in urban areas, which had to be abandoned like industrial waste after working as an accessory to achieving hundreds of millions of dollars in exports, are becoming prisms through English and Changshu.
In the '80s,
In the '80s, women's films had little qualitative improvement over their quantitative expansion.
Two factors play a role in the creation of the movie "Maechun" and the success of the audience mobilization. One is the 80th situation in which decadent trends have become widespread due to the widespread entertainment industry. They include statistics that one out of every five women in their 20s is a prostitute, a decadent business establishment that has penetrated into residential areas centering on the ideal entertainment district of Yeongdong, and hopeless hantangism that comes from the lack of equal distribution of wealth among social classes. Another is that it is possible to make bold exposures under the influence of internal changes in the film industry, namely the relaxation of censorship. After the June 29 declaration, the wave of democratization has given rise to resuscitation in the film industry, and the existing suppression books, including the abolition of the pre-deliberation system, have been eased. Modern prostitution must be interpreted in association with the structural problems of society. The movie "Maechun" gives a lot of old-fashioned motivation to the naked Sung-hee scene. Without a sense of criticism, these films only play a leading role in reducing women's status to the concept of sex wrapped in hagat products.
In "Madame Ma'am," the Ama's wives move from one man to another. One reason is the thirst for sexual desire, which stems from sexual dissatisfaction with the husband. Watching the screen where physical actors are overwhelmed with sexual desire, men feel a sense of sexual superiority and experience a sense of superiority by substituting themselves for men on the screen who are conquering the women. 'The concept of romantic love provides a means of emotional manipulation that men can freely exploit because the only case in which sex is ideologically allowed in women is love.Like female scholar Kate Milett's theory, "Ama's wives are nothing more than prisoners of men's libido.
The view formed in this type of movie is that women are either wise mothers and wise wives or prostitutes.
In other words, the government is creating distorted images of women inflated by sexual desire under the guise of equality between men and women.
(2) Overcoming women's films shown as targets; film women's liberationism
Theory is a discourse practice that puts one's foot in the real world and constantly performs dialectical relations with it and transforms.
Two things are important in the movie Women's Liberation.
First, having eyes that can see properly.
Second, women should enter mass media a lot to enhance their image.
This has not been reproduced as a woman in movies so far, and is expressed as being not just emotional.
Then, the unconsciousness of the patriarchal society becomes a problem in how to engrave gender differences in the viewing system and narrative form of the film. As a theory, Laura Mulvey's "Visual Pleasant and Narrative Movie" is a pioneer. According to her, films, especially classic Hollywood films, rely heavily on 'massive female images,' which inevitably evoke the 'male terror' of men. Therefore, Hollywood classic films have developed ways to alleviate these castration fears, such as voyeurism and tattooism.
Physicism refers to the search for sexual substitutes, such as men's genitals, in ordinary women to realize their sexual desires. For example, it completes a myth by making long-haired shoes, earrings, etc. that are not usually sexually successful. In the movie, women are the reason for being overly attractive and beautifully dressed. Bittering is the act of attaching male genitalia to women, which encourages the gender castration complex that men commonly have. Thus, women's myths do not end in their own sexual pleasures, but rather in the narrative structure that women who own male genitals should be castrated, resulting in the elimination or punishment of women.
The term voyeurism is that the acceptor of the film craves the film with the pleasure of looking into it. Movie screens are likened to windows and movie appreciation to hiding in dark seats and looking into bright rooms. It takes a dominant position in everything that happens in the bright room, a pleasure through the eyes, and the male protagonist on the screen is the pleasure of a man who looks over a woman's body. Female characters are less visible than men, and are described in many respects as weaker sex. They seem to have somewhat less mature adults, less educated and lower-ranking jobs. Women tend to be described as private areas of personal relationships and sex, while men tend to represent public areas of work, social relationships and sex.
Men control women visually through voyeurism, and this type of dominance in the viewing system leads to narratives. In other words, men who are the main agents of gaze are given the power to act actively at the same time and express their cinematic fantasies to their heart's content. As such, male domination in two dimensions, "application" and "action," effectively neutralizes the castration threat that women evoke.
So is the tool of film so male-centered and male-dominant that women cannot be seen?
Some problems are being pointed out.
Can a female audience have feminine pleasures?
How can a woman boil the same time as a woman in a movie?
Will female audiences have masculine pleasures?
The bottom line is that the establishment of women's communities based on women's culture is the only way to be liberated from men.
Since the '90s, there has been a marked shift in movement from the existing position of oppressive analysis of differences in the theory and reality of differences between men and women to the position of being emancipated or presenting the only possibility of effective change. In other words, alternative films are being distinguished from traditional Hollywood movies, which are being used as political weapons to show how the subconscious of patriarchal society has organized the form.
One alternative movie is 'Showgirl'.
As the title implies, "Showgirl" is a film aimed at male characters as well as male audiences' voyeurism. However, the viewing system in this film deviates from conventional practice. Norma Mullon (Elizabeth Buckley) as a stripper for a third-rate club and Norma Mullon as the best goddess show dancer in Las Vegas, of course, have the "visible" of course, but between the two points, her desire to watch her dream goddess show is caught in the audience. As a result, the existing closed antagonism structure of view/show is broken, creating a cycle and balance of show/view/show, and she becomes the most powerful nuptial owner of the film, albeit temporarily.
Also, if Norma's desire to be the goddess of the Las Vegas show is directed at the existing goddess, Crystal is enchanted by Norma's erotic image. Thus, the relationship between the two women moves to the logic of desire, and when they look at each other, there is always a dark erotic color. The scene where Crystal watches rap dancing in front of her lover (no physical contact, a stripper dancing for the purpose of exciting the guest), or two women dancing on stage with no one on the stage, is portrayed quite sexually through pornographic codes. In addition, Krystal and Norma, who were injured by Noma's scheme, kisses the hospital, which on the one hand means good-bye between the old and the present goddess, but on the other hand, it is also used as a symbol of homosexuality for women by giving them the feeling of separation from their loved ones.
In the end, Showgirl shows how easily the existing male image / female appearance can be overturned when women's desires and sexual applications are all in full swing, and how the fatal fascination of female images can be directed at women as well as men.
It has now become one of the many conventions that women, in some ways more firmly sexual than men and women of heterosexuality, are treated in Hollywood movies. This love of women is often portrayed in movies as an alternative and a backlash to patriarchal and oppressive heterosexuality.
(3) Finding a true theory
Are there any theorists looking for a woman's own space? I would like to examine the theories of Ruth Irigay and Julien Kristevan, the most talked about of all the efforts to find their own languages and theories.
Ruth Irigaray became famous for her doctoral dissertation, 'The Reflector of a Typewriter Woman.' According to her, both Freud's theory of castration fear and retraction saw a reliance on "eye view." She sets up a new concept of "reflection," which is a premise attached to the discourse system of Western philosophy, which needs to imply the need to establish a principal to reflect on one's own existence, which is possible through self-meditation by all philosophers' meta discourse is self-absorbing. Therefore, it is argued that no existing logic should be made to establish a reflexive male-oriented discourse, so that the logic of being feminine should be established. As an alternative, it is necessary to pay attention to Eastern mystical meditation and check out new female images there. A more realistic alternative is to solve this problem from the economic feasibility of Logos. By repeating and reproducing the way it is revealed from the reproduction of the reversed subject, it is said that women should show that it is possible to surpass and disturb the logic of men. Women's nature should always be fluid, not forgetting the nature of flow, and in this sense freedom resists and destroys all existing forms, ideas.
Julian Christeban tries to break the identity of a woman's sex by taking advantage of Derrida's disorganization philosophy. For her, gender differences tell her that we are not in conceptual fixation, but in the ever-increasing sense of illusion and the numerous language systems that attract us into the amplified net. Meaning is her central concept because it is said to be formed through a process that potentially refers to other absenteeism that is infinitely continuous, but not existing, and any static solution will go through oppressive discourse and production relationships.
4. Peek at Alternative Movies in Corsets
a word that goes in
What are the alternatives to sex culture in this society? What can a movie have about it? The question is already in vogue at a time when a number of discussions such as homosexuality and contract marriage are emerging. I would like to talk about "Corset" as one of the movies that answers this question. In this society, the attributes of capital are always kept, and the deceptive things are always abundant. The revealed systems and symbols are united and the law of pleasure is already mythically imprinted in our minds. Anyone who thinks "Corset" is an entertainment film that gathers the sense of storytelling in which a fat woman is marginalized and overcome the practice in a society where the standard of slimness is prevalent should be more concerned. The image of the film does not occupy the same time and space when trying to portray the reality in which we live, but is always fluid, historical and symbolic, having multiple and decentralized positions. In other words, the motif of "body" in the film is that it goes beyond physical problems as exchange value and functional and sexual beauty. So much so that the insertion of animations in the introductory section of the movie 'Corset', the ventilation induced by speaking to the audience in the middle, and the structural meaning of the character's personality suggest that the film is closely intertwined with the audience, demanding that it be thought rather than constantly immersed in the film, and that reflection of its inner structure can provide the role of physical intervention in the present society beyond reading. The light-laughing entertainment film and the heavy social water's 'breaking down the boundaries' provide a leap forward as a real-life reflection in itself. This relates to Adorno's proposition: "Only through capitalism can we go beyond capitalism."
Movies are mass media. The film asks if a new hegemony is possible by revealing the characteristics of capital when the media is used as a means of public manipulation in this society. To analyze this, we would like to use semiotics, Altusse and Rakkang's psychoanalysis. Analysis of images is important because screens are imaginary spaces. Here, we will look at how capital controls one's imagination and see the details of the film "Corset" as an alternative when it is said that this capitalist culture promotes male-dominated dichotomous separation thinking.
Clothes of Hallucination: Body (in the choice of material)
The origin of the corset begins to appear first by Queen Elizabeth of England. The corset, which began to be used to highlight her slender waist, was also responsible for women's fainting, sudden death and heart attacks at that time. Why does this emerge today as a form of 'losing weight'? In modern society, the body is not just the skin as a subject of nudity or sexual desire, but a symbolic body as a colorful and beautiful garment. If we know that the language of capital is a priori to all of us, then we should recognize that the beauty of the body, combined with symbols such as happiness, success, and confidence, extends its territory. The physical symbol behind the aggression of this concealed capital becomes a problem not by the individual's autonomous spirit but as an economic norm related to the profits produced and desired and eventually consumed. Therefore, the interest in beauty, diet, and dress, which is popular in modern society, is subject to economic investment with a self-absorbing and constantly type-conscious competitive meaning at the same time. As you can see in the movie Corset, Kang recommends a fitness equipment to Gong Seon-ju as a way to lose weight, and Gong Seon-ju's attempt to lose weight is necessarily related to aerobic music and gymnastics, which is that losing weight is already related to capital in this society, and the physical symbol is commercialized.
* Note: Symbols and images: Linguistics, which began to draw attention from Soshir, expanded its scope by combining with modern structuralism. When we say a word, we immediately get one idea. For example, as soon as you pronounce the word 'school', you will see the image of the school on your head. It is also complexly associated with the shape of the school's buildings, including all the political, cultural, and economic structures surrounding the school, such as teachers, blackboards, students, and educational issues. Of course, this association of older people varies from person to person. This older age also gives individuals the freedom of imagination, or fantasy. However, the power of the media gradually controls and uniformizes the individual's image hidden in the language. This is the attribute of capital as the owner of mass media.
Is it just an accidental choice of beauty that a slim body is fashionable?
"In a capitalist society where sex is related to labor and labor is systematically exploited, capitalist society does not allow labor to disperse through other pleasures than the least limited pleasures that allow it to reproduce," Michel Foucault said in his book, History of Sex. In other words, sex can only have its desire as a production driver in this society, and sex is suppressed. The relationship between domination and oppression surrounding this castle, along with the problem of the image of labor and language, is the basic framework of maintaining a capitalist system. Then for a working man, it would be slim rather than fat that best expresses the oppressed sexual narcissism. In other words, the feeling of being controlled and constrained is that everyone will have it, unconsciously or consciously, and that the slim side that resembles our own image may be closer to us. To have a job and participate in this society is to agree with this main discourse, and to live as a member of this society will be an acquiescence to political education and oppression of sexual desire. Thus, in the film, the public owner is participating in the company as a career woman, attending meetings for the company's profit, and the company's men's treatment of women as a target of profit is a symbol of this present society.
production of curiosity and desire
A man's perspective imagines a woman as an image. Women have also been sexual objects for audiences as well as for characters in movie stories, as has usually been the case with movies so far. According to Freud, men do not identify with women. Equivalence with women means "residence." Identity with mother as a child enters the father's world to identify the absence of male muscle and to acquire language. (The Oedipus phase will also go through at that time of entry. In other words, the identification with the mother takes place before the age of three and only serves as a hypothetical ideal for all of us, and becomes an eternal dissatisfaction that cannot be fulfilled.) The meaning of father's world is separation and loss because it is a world that is out of sync with mother. It is the loss of the body as a sense of unity between the mother and the baby, while the father's world means that both the desire for the mother and the sense of unity with the mother are suppressed. To speak as a subject is to express that there is a repressed desire. Because my father's world is a world of language. Language will only produce a fantastic image and cannot produce an essential fulfillment. There is no satisfaction anywhere but to wander about for life to meet it. In the film, Kang (played by Kim Seung-woo) says he approaches Gong Sun-ju (played by Lee Hye-eun) just to satisfy his curiosity's desire. Just because of the desire! Kang's desire is no different from the general male, which means a separation loss that cannot be met forever. The fulfillment of this curiosity, which cannot be attributed to the personality of a coincidental man, should not be blamed as a moral fault of the individual, but as an inevitable result of capital and language.
Desire and its fulfillment are socially controlled and reflect its own social structure. A deep similarity between desire and productive forces. The already everyday desire is a consuming human being's image that is not merely filled and expands infinitely without being conscious of the quest for morality or sense of existence. In a capitalist society, the unspeakable discontent is constantly induced in the form of consumption, and goods are advertised in the form of sex, strengthening its temptation.
In "Corset," not only rejects the role of a woman in the film, but also the audience's voyeur gaze at the film. Since the movie screen is compared to the window and the movie appreciation is the child's feeling of looking through it, the dominant view that the audience feels through the screen is the joy through the eyes and the joy of watching the movie. However, the movie has a dramatic effect by featuring a female character who is different from the existing fat female characters in the movie 'Corset.'
* Note: Beware:: To find sexual substitutes, such as male genitals, in ordinary women, in order to realize sexual desire by a man in a perverted psychological state of mind. For example, complete a myth by making red shoes, earrings, and necklaces noble. This materialism is also a frequently used expression of women in movies, and men generally expect women with this masculine symbol to be castrated. In other words, women need many unrealized tricks that are removed or worshipped. This should be the epitome of masculine cinema.
Regiment of alienation: Overcoming the Dichotomous World View
I don't know if anyone is crying out to jump into the rules of the game that governs this society. If you want to be pretty, you can get plastic surgery, and if you're short, you can get a hormone shot and grow taller. "Women are more enthusiastic about giving birth to a son just by looking at the preference of men." But the winner of the game is fixed and it won't be fair if a lot of fouls are allowed. Let's admit that women have so far belonged to a clearly marginalized class. The problem is that overcoming the alienation requires a more intrinsic approach to stay. Besides economic problems, psychological problems of everyday life, such as clothing style, sexual relations, education, language and gestures, are wrapped up in male values of domination and oppression. How can we untangle this systematically distorted entanglements? Is it possible to break away from this fundamental masculine ideology if we inherit preconceptions through images trapped in language before we judge? The answer to this movie is that peeling culture is a personal matter. Because if one alternative is politically considered and decided entirely by the majority, it is nothing more than another oppression. Therefore, all discourse must be interpreted as a sign only to the individual and its practical response becomes a lonely struggle that must be on the basis of reflection (Harbermas's theory). It is a public hegemony that individuals have the political meaning to reflect on and practice what is happening in this society. Here is the point where you meet Altuxerre. It is no longer ideological for us to act as an image. He is the creator of a real environment. The later part of the movie explains this well. Gong Sun-ju talks to herself as if a psychiatrist were treating a patient. It is not a judgment by force and coercion, but rather a voluntary integration of the self that had been suppressed and scattered by ideology. The mirror-encircled scene (which also symbolizes 'Ribido' in psychology) refers to the mirror phase for Rakkang, which is to break through the fantasy he had brought with him since childhood by retaking the process of creating the image beyond the symbolic world of language. The mirror phase is the phase of the transfer of symbols and the post-imagination phase, in which one simply looks at one's body and enters the other-conscious world of symbols. The scene of a child running around in the forest in this movie symbolizes the space before the dominant discourse and tries to resolve it. The film says that if one is faithful to the current intuitive reflection as if one by one were to meet nature in a quiet countryside (because nature is in a controlled relationship in a masculine society), it might be possible to escape the discourse of capitalist society. Sushi restaurant owners and passers-by homosexuals, who may be more free to stay away from the organized society, are able to watch the active society of this society, where there is neither restraint nor intrigue. The film's conclusion, the marriage to the owner of the sashimi restaurant, is to become a symbol of hope for the creation of new values through mutual solidarity of the marginalized.
other conjectures
There are things that are too much to tie up as a topic. Those are the things that give us occasional fun, but are not easily associated with the whole, but add freshness by acting unconventionally.
In the movie, some people ask for sharks in a funny way. Sharks, as a mythical 'symbol,' describe the image of language inherent in our consciousness, an explicit explanation of the director's form of making a film. In other words, sharks are symbolized to represent virtualised human language reality. When a drunkard talks about sharks, sharks are not sharks of a direct relationship. It is an abstract fake shark that exists only in the thoughts of the other, and has a symbolic meaning that can only be seen or imagined indirectly. In the movie, the owner of the sushi restaurant can't give sharks. Giving a cork, deceiving a shark, and a drunk should be fooled by a shark. Through the relationship between these sharks, the director wanted to talk about the attributes of symbols in a capitalist society.
The founding of a company called woman & pride is a rejection of the general female society, which is attempted by building an economic foundation. It is a resistance to capital that disperses women's energy and concentration and strengthens economic and psychological burdens. A 'material foundation' that works as one of the ways to restore women's confidence provides space for new values and even mental foundations. The human desire to express beauty can function as a means of opposing the existing culture beyond the psychological stability of the individual when it can first be economically and freely realized. In other words, the material foundation provides space for the creation of alternative mental cultures.
at the end
Creating new values is important, says Harbourmas, for example, language training, realizing through mutual communication on economic foundations and governance. The film rejects realistic reproduction to reflect society and draws a rather funny picture of the whole situation, so the duality shown here has a trap for the audience to end up as just an entertainment film (of course, this should take into account the different circumstances or responses the audience is in). The social discourse of realism as a clear-cut practice is located not far from the film. The film's great strength is that it has a liberal imagination but doesn't miss the bond of homogeneity with society. It is also a condition of good work that can be read in many ways by each viewer.
Let's not make fun of this movie just because it's funny. Because someone might be crying... ...
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