아방가르드 영화의 미학과 유희적 모더니즘

An Esthetics of Avant-garde Film and Playing Modernism: About Director Yang Hae-hoon

Yang Hae-hoon actively accepts a realist and avant-garde esthetics. He belongs to a group of playing modernism, which Yoon Seong-ho and Gok-sa also join in. The first characteristic of an esthetics of avant-garde film is visual narrativization. The second is a violation against a taboo. The third is an open structure to provide audience a chance of reflection. The fourth is a disobedience to continuity with non-conventional editing. Yang's The Wind achieves successfully visual narrativiztion, and My Dear Rosetta shows reversiblity of subject as a violation against a taboo by incest. The Swaying Boat, The Wind, and My Dear Rosetta open an expansion of a meaning and a chance of reflection by audience through open structures. Who That Knocking at My Door and My Dear Rosetta erase the boundary of reality and fantasy through a disobedience to continuity with non-conventional editing. Holding a side of transparent representation of reality and accepting positively a technique of avant-garde esthetics, Yang's films explore cinematic language and convey effectively his subject. Korean independent film in the 1990s intends realism of social criticism. The film in the 2000s has a modernist tendency to attack a society with experimental forms and plying methods instead of ideological criticism. The representative directors with this style are Yoon Seong-ho, Gok-sa an Yang Hae-hoon. Preserving a distance to established severe realism, they have aimed playing modernism towards criticism of the society.