파괴된 소도시에 잠재한 희망과 윤리의 장소성 -영화 <이리>·<파주>·<밀양>을 중심으로-

초록

We usually expect, if find the place name in a film, that the film tells the local practice. But the film goes against our anticipation. Because the film create the new placeness. Iri, Paju, and Milyang(Secret Sunshine) are each the name of small town in the movie Iri(<이리>, 2008), Paju(<파주>, 2009), Secret Sunshine(<밀양>, 2007). The placeness in the films is not real local practice or regional characteristics. The places are being destroyed. The people in the towns can’t have topophila. But the place is not merely the space of placelessness. The people in the movies are between the topophila and topophobia. So they can’t leave the place in spite of trauma hurt by the very place. The reason they reside there is the place is the Real. The Real is not expressed by language. The place as the Real is imprecise and uncertain. Also in the same manner, the character is uncertain. The characters in the films are hurt and void like the place. The face of a heroine is not only a surface but a visage. The face as a visage is void and vague. So the visage is the synecdoche of the place. The relationship between a woman(heroine) and a man(hero) is based on the principle of hospitality. And the camera approach the characters and the places very carefully and prudently.

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