죽음의 배치 속 신체들의 균열: 아감벤과 음벰베로 읽는 〈플랜 75〉

초록

This paper analyzes Hayakawa Chie's Plan 75 (2022) through the theoretical framework of Agamben's homo sacer and state of exception and Mbembe's necropolitics, examining the social arrangement of death and the ruptures within it by focusing on the work's audiovisual form. Departing from the limitations of existing scholarship, which has concentrated on super-aged society discourse and the ethics of dignified death while insufficiently addressing the division of death labor and the position of migrant workers, this paper attends to the ways in which Plan 75 distributes death across different figures occupying distinct structural positions. The analysis centers on four characters. Michi is read as homo sacer, yet the work refuses to reduce her to bare life, presenting her as a figure who maintains her own form of life until the end. Yoko reveals how the state of exception operates within the everyday through emotional labor. Hiromu, as executor of the system, undergoes an ethical rupture yet remains suspended in tension within the institution. Maria occupies a position that cannot be adequately explained by Agamben's concepts alone. As a migrant worker deployed to perform death labor, she is read through Mbembe's necropolitics; by assisting Hiromu in restoring funeral dignity to the dead, she ultimately produces the most decisive rupture within the arrangement of death. Through analysis of recurring formal devices—handheld cinematography, contrasts of light and darkness, window framing, and direct address to the camera—this paper demonstrates that Plan 75 simultaneously exposes the structure of death and explores the possibility of its rupture through the work's distinctive formal logic.

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