The novel, going by the name of 『DMZ』, is made up of the literal narration, the line. The literal narration keeps the direction and compulsion power moving from the left to the right. There can’t be restriction in selecting words and moving a ...
The novel, going by the name of 『DMZ』, is made up of the literal narration, the line. The literal narration keeps the direction and compulsion power moving from the left to the right. There can’t be restriction in selecting words and moving a paragraph, moreover, the form is creative and opened. Also the information is stored in order. The reason why both the size and the form of the letter have little change. The lower change, the higher distortion of essential qualities. Because of that, also, the use of color language is generalized to the black. The comprehension of the literal narration can be produced differently by general understanding of the readers.
The film, 『JSA』, contrary to 『DMZ』is made up of the image narration, contrary to the literal narration, it has free decoding in fixed space. The image narration tends to depend on vision than selecting words or moving inter-paragraphs. And the fact is limited within the image area. It isn’t dramatically adhered to literal change of the size or the form. Also the size and the form is very various. The narrative aesthetics as the image can be manifested. This comprehension of the image narration is determined by the general understanding of individual audiences. The book played the most important role as the delivery medium of the culture before the image period. A student of literature could get along with the literal narration in 70~80s. The period of letter fell under the control of reason. Reason was the center of everything and had a direction of thinking that judged the right and the wrong. Because the literature, the letter formed a foundation that predicted the merit of the future by itself through logical thinking and deliberation. It emphasizes the point that is headed for the same quality. The keynotes of this period are the self-restriction, the agreement with existing value, the consideration, the restrained sensibility, the static culture, and the desire to possess.
With the spread of the color TV, the delivery medium of the culture changed the letter to the vision. The generations since 80s have been able to get along with the image narration. The period of vision fell under the control of sensibility. The thinking of reason has been changed to thinking of value divisional sensibility because of uniform value delivery. The generations of the vision accept delivered vision without discretion, because they are impulsive and deviate. The keynotes of this period are the indiscretion, the resistance to existing value and the order, the personality, the change to sensibility, and the dynamic culture. In Korea, the period of the literal narration has been changed to the period of the image narration in early 90s. The first works are the novel 『Seopyunjae』and the film of the same name. And the second works are the novel 『DMZ』and the film 『JSA』.
It was general pattern to film a famous novel in the period of the literal narration. By the way, the reversal phenomenon occurred in the period of change to the image and the novels unknown to the public become famous through the films. Such a representative tendency appears in the film 『Seopyunjae』and 『JSA』. It means that the serious art on the central part of the culture gave way to the public art in on the skirt of the culture.
The public art occupied the center of the culture means the art become light and mild, but the art turned into the culture for pleasure. Because the public art does not get to the bottom of the meaning deeply. Both the literal narration 『DMZ』and the image narration 『JSA』are no exception to this rule. Although the image narration occupies the center of the culture, we lost many things by taking the virtue of the literal narration lightly. So, to manifest the value of the lost literal narration is most important in other times. These reasons functioned as the purpose of this study. I’ll concretize my study centering around the characters of both media, especially each of the desire in characters of the literal narration 『DMZ』.
On the first paragraph, the contrast of characters is represented by Oh Kyiong-pil and Kim Su-hyeok, dreaming of a departure from real life. The rule, the law and the norm dominate the unconscious, the restricting characters' ego through their language in the social structure. But such a domination of the unconscious is a self-recognition which is the state before other people and the root before language. These are the characters that attain the identification.
On the second paragraph, the contrast of characters who were shut in the ideology and real life is represented by Nam Sung-sik and Jung Woo-jin. People pressed the desire on them. Eventually, the personal desires in the space of other people make the person misunderstand other people’s desire to self-desire reflected on his own mirror. And the personal desires are encroached by other people through uncritical acceptation about the social structure.
The third paragraph is about the contrast of characters who were forced to have a neutral view point. Versami and Lee Sun-hye were represented as the characters pointing out contradiction in ideology which was pressed by other people and escaped from that by themselves. They insisted that they did not identify other people and themselves, but they were buried deeply in reality of life and they could not escape from the area of ideology. A neutral glance is needed to them. But they already lost the objectivity.
The fourth paragraph is about the contrast of the introspection on characters’ ego. It condenses the message of every desire. The desires can show obviously the inside of characters. Lee Yeon-woo was the character whose ego was separated. Divided ego of the character does not means that the character breaks into both extremes. Lee Yeon-wo and Lee Kyeong-su are the characters of the desire. It
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