전경화한 사랑 : 최인훈 「구운몽」 속 조선원인고(朝鮮原人考) 필름 중심으로

초록

Choi In-hoon’s “Guunmong” attempts to dismantle the layers of time through all-round parody and to establish a methodological framework to reassemble the fragments derived from it. This work, which incorporates experimental forms, is closely connected to contemporary issues such as the deepening social division, polarization of capitalism, polarization between groups, reorganization of transnational networks, and the invisible network due to the rapid expansion of AI utilization after COVID-19. In particular, the “Joseonwoningo (朝鮮原人考) film” in “Guunmong” presents a new framework for understanding this reality and provides a new direction for the current society. Accordingly, this article approaches the methodological framework conceived by Choi In-hoon as a blueprint for a new paradigm, focusing on the “Joseonwoningo (朝鮮原人考) film” in “Guunmong”. In particular, the properties of the ‘Joseonwoningo (朝鮮原人考) film’ containing the meaning of artistic and religious ‘love’ were analyzed by dividing them into inside and outside the frame, and then the concept of ‘simultaneity’ of Carl Jung was applied and examined. First, by combining the characteristics of the film that shows the same screen regardless of the viewing position with the novel format, heterogeneous space-time and linear historical system were placed on a simultaneous flat image. Next, ‘love’ as art mentioned by Choi In-hoon and the religious ‘love’ in ‘Nine Cloud Dreams’ where it is actually realized were interpreted through the concepts of entanglement and superposition of quantum mechanics. The uncertain world of this novel, which cannot be explained with the certainty of classical physics, was unraveled into the temporality of past-present-future on reality in light of the concept of ‘simultaneity’ of Carl Jung. The methodological framework of Choi In-hun's “Guunmong”, which concretizes these thoughts as “reality beyond illusion” rather than abstract concepts, such as existence that changes depending on the protagonist’s position, Buddhist acting realized through interactions between characters, and Christian love at the core of the relationship, was examined.

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