극영화의 역사 (다시) 쓰기 — <국제시장>과 <포레스트 검프>의 경우

초록

Ode to My Father (Gukjesijang, 2014), a Korean film, was at the heart of bitter dispute in terms of generation politics and historical view while drawing over 14 million people into theatres in domestic market alone. To understand why and how this occasion happened, we have to analyze how this film (re)write history, its subject matter. A comparison with Forrest Gump (1994), a Hollywood film as the intertextual reference and the model for Ode to My Father (Gukjesijang), is helpful for this aim. Films have recorded events and shaped the course of history. They have played the roles of not only witnesses but also historians. Friedrich W. Nietzsche’s differentiation of monumental, antiquarian, and critical histories provides a lot of insights for the investigation of how fiction films represent and interpret the past. This paper comparatively examines Forrest Gump and Ode to My Father (Gukjesijang) in term of the ways of their rewriting modern histories of USA and Korea, feather and butterfly as symbols, the conflation of fiction and historical fact, and the ways of connecting the past and the present. In the context of a kind of ‘excesses of history’ in Nietzschean sense, Ode to My Father (Gukjesijang) gives a monumental celebration to the past history of father generation and imposes on the audience a single strong gaze of nostalgia for the times past.

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