둥근달이 떠오르면: 여성주의 에로티즘의 영화적 가능성 : 에로티시즘

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nstruction. Cambridge: Blackwell, 1994.
Jamon Jamon. Dir. Bigas Luna. Lolafilms, S.A., 1992.
La Teta y la Luna. Dir. Bigas Luna. 1995.
Marx, Karl. Capital: A Critique of Political Economy. Vol. 1. Trans. Ben Fowkes. New York: Vintage Books, 1990.
Mulvey, Laura. "Visual Pleasure and Narrative Cinema." Screen 16.3(1975): 6-18.
---. "Afterthoughts on 'Visual Pleasure and Narrative Cinema' Inspired by Duel in the Sun." Framework 15/16(1981): 12-15.
Nancy, Jean-Luc. The Inoperative Community. Ed. and trans. Peter Connor et al. Minneapolis: U of Minnesota P, 1991.
Nickel, Terri. "'Ingenious Torment': Incest, Family, and the Structure of Community in the Work of Sarah Fielding." The Eighteenth Century 36(1995):235.
Penley, Constance. "Feminism, Film Theory and the Bachelor Machines." m/f 10(1985): 39-59.
Trin, T. Minh-ha, When the Moon Waxes Red: Representation, Gender and Cultural Politics. New York: Routledge, 1991.
When the Full Moon Rises:
A Cinematic Turn of Feminist Erotism
Abstract Seung-Hee Roh
The characteristic appeal of cinema has mainly derived from its mode of production that combines the aesthetic with the real politik, weaving pleasurable images into the narrative which produces power and knowledge. The screen has allured the audience to become its accomplice by presenting them a unusual gift of radiant spectacle in which pleasure, power, and knowledge coexist. In other words, the audience get a surrogate satisfaction of desire as a small reward for their participation in the (re)production of the socio-cultural economy of which the film is an apparatus. Attending to feminist film theories, therefore, one may easily conclude that both the subject and the object of cinematic visual pleasure are overdetermined by the traditional gender ideology of patriarchy, for those films have been produced and circulated by the regimes of phallogocentric culture.
However, any field of (re)production of hegemonic relations is potentially a field of subversion and revision as well, because of the internal contradictions in them. If there should be any good in an artistic practice, it would be in the creation of a fiction that goes beyond a simple, foundational re-presentation of historical relations of production, precipitating a change of them. Playing with such a logic, one can consider the possibility of a film which is produced in the existing cinematic frame, but which does not operate in collusion with patriarchal economy -- a film that suggests an alternative to phallogocentrism. Reviewing Bigas Luna's Jamon Jamon and La Teta y la Luna, this paper first discusses how male cinematic conventions reinforce patriarchy by channelling the destructive drives of the latter through the pleasure-power nexus of narrative films, and, second, attempts to find a cinematic possibility of female erotism as a radical alternative to the male cinematic conventions as well as to the closed circuit of what I call 'the economy of the Same' of patriarchal capitalism.

키워드

의도성,   의미자료,   잉여물,   의미작용,   의미화,   로라 멀비