양석일의 『택시광조곡』의 영화화 - 각색・장소・정체성 -

초록

This writing was examined the problems with the adaptation or media translation of the original work that were shown in the process in which Yang Seok-il’s novel Taxi Rhapsody is filmed into <Where Is The Moon?> by director Choi Yang-il. Translation by all means is definitely worked a powerful ideology dubbed semantic equivalence between two texts, but can be mentioned to be the writing of a difference basically between the original work and translation. The translation that is subject to media conversion, namely, the adaptation has an aspect of having more acceptance of its difference. Nevertheless, a movie with an existence of the original is certain to rely on the authority and effectiveness of the original work. <Where Is The Moon?> is not exception as well. As the director and adaptor of this movie said, ‘I’=‘Mr. Yang’ in the original work did not have a unified position, thereby having been difficult to place it in the main character of the movie. Thus, the movie created a new character called ‘Gang Chung-nam’ with abandoning ‘I’=‘Mr. Yang’ in the original. However, the fundamental question with saying why does ‘I’=‘Mr. Yang’ as one of the keys in the original story have to be a taxi driver? failed to be asked through ‘Gang Chung-nam.’ Moreover, it was not questioned about why is the space dubbed ‘taxi’ in the original work important? and what is its meaning?. The space called ‘taxi’ as ‘a kind of secret room’ to ‘I’=‘Mr. Yang’ in the original is very crucial. The space called taxi in the original work is being signified in five ways. Those just include 1) alone time, 2) space of being together with an unknowable (不知) other, 3) a time of constant danger, 4) a harsh labor scene, 5) a worldly custom in which capitalism is abbreviated. How the points were realized in the movie cannot help being a critical perspective that looks into the appearance of success in adaptation or media translation. Still, the movie made ‘Gang Chung-nam’ regard Japan as ‘a place with a pause in movement’ or as the starting point of movement, thereby having confirmed that the meaning of the taxi space in the original work resulted in having been lost. In addition, this writing was indicated that a representation of Korean residents in Japan in the movie contains the risk that will revert their identity into a matter based on the imagination of a damage narrative. In other words, an episode of the movie was often seen the logical argument in a way that ‘structure’ in a damage narration of being involved in the prejudice of Japanese people exists as an order and is always reproduced and that Koreans in Japan as ‘main body of an act’ are determined by this structure. Rather, the movie needed to be explained their identity through unpredictable and repetitive behavior of an actor like the actions of Koreans in Japan in the original work. A task that is left through this work may be a problem of ‘times translation.’ There is a need to take a closer look at the producers' intentions of how ‘times translation‘ came to be cinematic mainly in the process that the narration of Taxi Rhapsody (狂躁曲) as a novel with the backdrop of the 1970s is transferred to <Where Is The Moon?> as a movie in the 1990s.

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