김기림 시의 영화 이미지 연구

Abstract

본 연구의 목적은 질 들뢰즈의 영화 이미지론을 이론적 틀로 삼아 김기림의 장시집 『기상도』에 드러난 이미지 변모 양상을 살피고, 그의 시 세계를 새롭게 조망하는 데 있다. 김기림은 동시대의 어떤 시인보다도 영화에 깊은 관심을 보였음에도 불구하고, 그의 시를 영화적 이미지의 관점에서 본격적으로 분석한 연구는 여전히 부족한 실정이다. 이에 본 연구는 김기림의 시적 기획이 집약된 『기상도』를 영화 이미지를 중심으로 살핌으로써 그 독창성과 특이성을 밝혀보고자 하였다. 본고의 Ⅱ장에서는 운동-이미지가 산재되어 있는 김기림의 『기상도』 제1부와 제2부를 중심으로, 태풍이 휩쓸기 이전의 세계를 살펴보고자 했다. 구체적으로는 제1부와 제2부에서 시적 화자의 내면 인식을 따라 ‘진리언표적 서사’를 지향하는 지각-이미지, 감화-이미지, 행위-이미지가 연쇄적으로 드러나는 지점에 주목하였다. 들뢰즈는 ‘운동-이미지’를 논할 때, 그것을 이루는 지각-이미지, 감화-이미지, 행위-이미지가 지닌 유기성에 천착한 바 있다. 본장에서는 『기상도』 제1부와 제2부의 시에서 이 세 가지 이미지가 연쇄적으로 드러남으로써 구성되는 감각-운동적 도식을 살펴보았다. 이미지의 연쇄를 통해 구성되는 유기적 체제에서는 중심을 기준으로 하는 정상적 운동이 존재한다. 이때 이미지 간의 접속과 연쇄가 발전적으로 드러남에 따라 진리언표적 서사가 구현되며, 연쇄된 이미지들은 이에 종속된다. Ⅲ장에서는 운동-이미지와 시간-이미지가 교착되는 김기림의 『기상도』 제3부에서 제5부까지를 중심으로, 태풍이 발생하여 이동하면서 항구와 도시를 강타하는 과정과 그 파괴적 위력의 세계가 시에 드러나는 양상을 살펴보았다. 특히 운동-이미지의 유기성이 파열되면서 서서히 시간-이미지의 징후가 나타나기 시작한다는 점에 주목하였다. 『기상도』 앞부분에서 시적 화자는 감각과 행위를 통해 세계와 비교적 안정적으로 소통하지만, 제3부 ｢태풍의 기침 시간｣에 이르러 식민지 현실을 직시하며 실존적 위기에 직면하게 된다. 이 과정에서 기존의 감각-운동적 도식이 붕괴되고, 지각-이미지와 감화-이미지가 더 이상 행위로 이어지지 않으며 시간-이미지의 징후들이 나타난다. 이는 곧 식민지 체험에서 비롯된 내면의 분열과 무력감을 드러내는 이미지 체제의 전환을 의미한다. 이러한 변화는 김기림 시 세계의 핵심적 전환점을 지시하며, 시적 사유의 심화 양상을 보여주는 것이다. Ⅳ장에서는 시간-이미지가 두드러지는 제6부와 제7부를 통해, 결정체적 체제 속에서 새롭게 구성되는 세계와 그로부터 드러나는 시적 화자의 사유 방식을 다루었다. 이 결정체적 체제는 기존 질서의 붕괴 이후 출현하는 혼돈의 세계처럼 보일 수 있지만, 동시에 그 혼돈을 통해 새로운 인식과 감각, 사유의 조건이 생성되는 긍정의 공간이기도 하다. 이러한 체제 속에서 김기림의 시적 화자는 온전히 ‘견자(見者)’로 기능한다. 『기상도』 제6부와 제7부의 시적 화자는 폐허 위에서 절망하거나 침묵하지 않는다. 오히려 그는 분절되고 파편화된 이미지들을 통해 끊임없이 변화하는 세계를 포착하고, 그로부터 새로운 의미를 생성한다. 이때 화자의 시선은 단순히 ‘보는 것’이 아닌, 기존의 진리를 대체하는 ‘거짓의 역량’을 통해 새로운 진리의 가능성을 탐색하는 기능을 한다. 이 거짓의 역량은 기존 서사의 중심성을 거부하고, 탈중심화된 시공간 속에서 사유의 자유를 되찾는 것으로 창조적 동력을 발휘한다는 점에서 의미가 있다. 이처럼 본 연구는 김기림의 장시집 『기상도』에 나타나는 이미지의 양상과 그로부터 드러나는 시적 사유를 통해 김기림 시 세계에 대한 이해를 높이고자 하였다. 『기상도』는 제1부에서부터 제7부에 이르기까지 통시적인 전개를 통해 시인의 내면적 변화와 시대 인식을 반영하고 있으며, 이 과정에서 다양한 이미지들이 형성되고 변화한다. 본 논문은 각 부에 등장하는 이미지들의 양상을 분석하고, 그것들이 시적 화자의 인식과 어떤 관계를 맺는지를 살펴보았다. 특히 『기상도』에서 나타나는 이미지들은 김기림이 식민지 이전, 식민지 시기, 그리고 이후를 거치며 세계를 바라보는 시선과 맞닿아 있다. 을 보여준다. 그리고 이러한 이미지들은 단순한 묘사 차원을 넘어, 시대 현실과의 긴밀한 접속 속에서 구성된 영화 이미지로 구현된다. 이처럼 본 연구는 영화 이미지를 중심으로 김기림의 『기상도』를 살핌으로써 그가 지녔던 현실 인식까지를 의미화하고자 하였다.;This study aims to examine the entirety of Kim Ki-rim’s representative work Weather Chart ( 『기상도』) through the dual regimes of cinematic imagery proposed by Gilles Deleuze. Kim’s Weather Chart begins with a relatively stable and organically structured poetic world, which gradually shifts toward a dynamic, continuously generative poetic space, marked by irony and playful fragmentation. This thesis analyzed Weather Chart through three central stages: an organic regime defined by movement-images, a crystal regime defined by time-images, and a transitional phase in which the poetic world shifts between the two. By tracing this transformation, the study aimed to more precisely reveal the distinctive poetic vision that Kim Ki-rim constructs across these regimes. In the early parts of the poem, the poetic subject maintains relatively stable perception and order, revealing a coherent sensibility and agency. However, as the colonial situation of the 1930s deepens, the poetic speaker begins to experience an existential crisis through fragmented perception and destabilized action. This culminates in an explosive series of fragmented and ironic images, whereby a disintegration of sensory experience and discursive coherence gives rise to a newly constructed poetic space. Such a shift reflects the poet’s confrontation with the collapse of the rationality and ideological 'center' he once trusted, particularly within the chaotic context of colonial modernity. The disintegration of this ‘center’ corresponds with the breakdown of the organic movement-image regime that previously structured his poetic world, simultaneously signaling the emergence of a crystal world wherein images coagulate in non-organic, non-linear ways. Following the passage of the symbolic “typhoon” in Weather Chart, the poetic world enters a liminal state lingering on a threshold. The poetic sequences of this period resist full articulation through either the movement-image or the time-image alone. The poetic subject emerges simultaneously as agent and observer, and the images he deploys, though grounded in sensory-motor situations, increasingly take on the qualities of purely optical and sonic images. This transitional ambiguity raises the critical question of how the cinematic unit of the ‘plan’(쁠랑), as defined in Deleuze’s film theory, can be meaningfully translated into the realm of poetry. Notably, recent studies have explored the application of Deleuzian cinematic theory to modern Korean poetry, revealing the theoretical potential and analytical utility of this interdisciplinary approach. This thesis situates itself within that discourse, aiming to develop a nuanced interpretation of Weather Chart through a rigorous application of Deleuze’s cinematic image theory. In Deleuze’s film theory, the plan operates dually: on one hand, it constructs a delimited time-space through the framing of a shot, and on the other, it enables an open totality through montage by crossing those very boundaries. This dual functionality allows for the existence of multiple types of plans, each shaped by the way movement and time are articulated. When this concept is transposed into the realm of poetry, the idea of a plan as a unit of imagery remains grounded in what Deleuze calls “the unity of movement.” That is, the poetic plan mediates between fixed, closed-frame units and fluid, open-ended montage-like structures, generating a wide array of image forms within a poem. From this perspective, poetic plans may be realized across multiple textual layers from syllables, words, and phrases to lines, stanzas, discursive structures, poetic events, entire poems, or even the overarching poetic world. These layered plans function as image generating units that embody both movement and cohesion, rendering visible the inner rhythm and semantic flow of the poem in a cinematic mode. This study focused on how poetic plans mediate between closed aggregates and open totalities, and how they give rise to diverse forms of imagery throughout various levels of the text. Just as plans in film are not bound to a single rigid framework but instead reveal the aesthetic quality of cinematic imagery through their multilayered and fluid structure, poetic analysis can similarly benefit from treating these flexible image units as operative tools. Through this approach, it become possible to uncover the cinematic logic at work within the poetic text and more clearly articulate the aesthetic effects they produce. Kim Ki-rim’s Weather Chart ( 『기상도』) consists of 424 lines divided into seven parts: “Morning of the World” (｢세계의 아침｣),“Procession of Citizens”(｢시민행렬｣),“Coughing Hour of the Typhoon”(｢태풍의 기침 시간｣),“Traces”(｢자최｣), “Sick Landscape” (｢병든 풍경｣), “Incantation of the Owl” (｢올빼미의 주문｣), and “Song of the Steel Wheels” (｢쇠바퀴의 노래｣). Reading Weather Chart through the lens of Deleuze’s cinematic image theory not only enables a new understanding of the poetic images therein, but also contributes to a more multifaceted interpretation of Kim Kirim’s poetic universe. It is hoped that this approach will offer new insights and perspectives for the study of his work. His interest in film, in particular, was especially prominent from the earliest stages of his literary career. He remarked that “rather than poetry, it is fiction and especially popular mass-market fiction like cinema and revue that satisfies the tastes of the common people, the masses.” Recognizing the significant cultural pull of film, he further observed that “the appeal that cinema holds for the modern audience is nothing short of astonishing.” These remarks make it evident that Kim Ki-rim not only acknowledged the powerful influence of film on the popular imagination but also sought to explore a new poetic gaze shaped by cinematic aesthetics. His work thus reflects an intentional effort to adapt filmic techniques and media logic into the structure and expression of modern poetry. Chapter II of the study explored the first two sections of Kim Ki-rim’s Weather Chart “Morning of the World” and “The Citizens’ March” focusing on how these poems embody the characteristics of Deleuze’s movement-image. These early parts of the poem present a relatively stable and harmonious world what might be described as a “healthy morning landscape” prior to the typhoon’s arrival. In this context, movement-images emerge organically through a chain of perception-images, affection-images, and action-images, forming what Deleuze terms a sensori-motor schema a system in which perception leads to feeling and both ultimately guide action. In such a regime, movement is coherent and oriented around a central organizing logic. The images are interconnected in a chronological manner, aligning with Deleuze’s idea of the “truth-asserting narrative,” in which sequences develop in a rational and spatially ordered way. In Weather Chart’s early sections, this kind of narrative logic is especially evident images progress in a structured and goal oriented fashion, producing a poetic world grounded in order and coherence. Central to this dynamic is the poetic speaker, who functions much like a camera in Deleuze’s cinematic framework. The speaker is not a passive observer but an active perceiver and actor capturing the world through a cinematic gaze and engaging in purposeful reflection. Perceptual images are linked to action through intention, while affective images emerge in the brief interval between perception and action, often revealing a desire for safety and stability a kind of truth-seeking impulse. Kim Ki-rim drew inspiration from film’s capacity to offer a “new eye” for understanding the disorienting conditions of modernity. His poetic gaze mirrors the lens of a camera, assembling a sequence of perception-images, affection-images, and action-images, that reflect the contradictions and tensions of contemporary civilization. These images are not random or neutral they are directed toward critical insight. The affection-images, expose the speaker’s internal responses to external disorder, while the action-images aim to reclaim agency within that complexity. In conclusion, this chapter highlights how Kim Ki-rim’s poetic speaker composes a layered cinematic narrative using various plans, which generate perceptual and affection-images, that flows naturally into action. Through this framework, “Morning of the World” and “The Citizens’ March” are analyzed as expressions of the movement-image, establishing the poem’s initial sense of stability before its later disintegration. Chapter III centers on Parts III to V of Kim Ki-rim’s Weather Chart, where movement-images and time-images intersect and become entangled. This section of the poem portrays the emergence and trajectory of a typhoon as it sweeps through harbors and cities, unleashing destructive force and, in turn, revealing the inner fractures of the world it encounters. While the earlier parts of Weather Chart focus on the poetic speaker’s relatively stable perception and action, Parts III to V mark a dramatic shift set against the deepening colonial crisis of the 1930s, the poetic subject now exhibits fragmented perception and unstable action, symptomatic of an existential crisis. This rupture suggests that, in confronting the colonial reality, Kim Ki-rim experiences the collapse of the rationality and ideology the ‘center’ that had previously structured his worldview. The breakdown of this center, or de-centering, signals the unraveling of the sensori-motor schema that sustained the movement-image regime. Perceptual and affection-images no longer lead organically to action; instead, they begin to emerge autonomously, no longer bound by causal or rational continuity. Within this transition, the poetic speaker undergoes a profound internal rupture, entering a state of existential disorientation a moment in which the symptoms of the time-image, as Deleuze describes it, begin to surface. This transformation is intimately linked to the historical trauma of colonial experience, which begins to reshape the deeper structures of the poetic self. Beginning with Part III, “The Coughing Hour of the Typhoon,” Kim Ki-rim deliberately deploys intense and disjunctive imagery that signals the poem’s decisive turn. The organic coherence of the movement-image regime, which had characterized “Morning of the World” and “The Citizens’ March,” gives way to irrational combinations and indeterminate image-relations key markers of the time-images. This shift reflects Kim’s strategic attempt to poetically embody the violence and disarray of colonial modernity. In “The Coughing Hour of the Typhoon,” we can see the core tendencies of Weather Chart emerge with full force. This part signals a crucial transition point in Kim Ki-rim’s poetics: the previously coherent regime of movement-images disintegrates, replaced by non-causal and illogical assemblages. These fragmented image structures correspond closely with the poetic speaker’s deepening sense of existential helplessness and foreshadow a fundamental transformation in Kim’s poetic universe. As the speaker confronts the violent reality of colonial domination, he experiences the collapse of the ideological foundations reason, order, and idealism that had long underpinned his poetic vision. The symbol of the “typhoon” functions as a powerful allegory for the violence of colonial oppression, evoking both the trauma it inflicts and the instability and fear that accompany survival. In response, the poetic speaker’s inner world becomes increasingly fractured and complex, reflected in the ever more fragmented image chains. Through these images, we gain insight into the concrete dimensions of the speaker’s existential crisis and the broader poetic transformation it reflects. Chapter IV analyzes Parts VI and VII of Weather Chart, where Kim Ki-rim's poetry enters a crystal regime structured by time-images. Unlike earlier sections that followed a sensori-motor logic, these final parts depict a world in ruins disordered, uncertain, and fragmented. Within this space, the poetic speaker no longer functions as an agent of action, but as a seer (견자), a figure who perceives and reflects rather than intervenes. In Deleuze’s theory, the time-image arises when perceptual and affection-images no longer lead to action, but instead exist autonomously. This shift is evident in Kim’s portrayal of the post-typhoon world, a poetic landscape shaped by broken images, where meaning emerges through discontinuity rather than coherence. Part VI, “The Owl’s Spell,” captures the fatigue and emptiness that follow catastrophe, yet also hints at the possibility of renewal. Part VII, “Song of the Iron Wheel,” then gestures toward regeneration with the iron wheel symbolizing resilience and the return of light after the storm. In these sections, Kim does not mourn the collapse of order rather, he explores how poetic thought can persist through fragmentation. By embracing time-images, his work opens a space for new perception, new language, and ultimately a renewed faith in poetic imagination after historical trauma. Kim Ki-rim’s Weather Chart, spanning from Part I to Part VII, unfolds through a diachronic progression that reflects both the poet’s evolving inner world and his shifting perception of the times. Throughout this structure, a wide range of images emerges and transforms revealing Kim’s changing perspective as he navigates the pre-colonial, colonial, and post-colonial conditions of modernity. These images go beyond mere description and they function as cinematic images intricately connected to the historical reality of their time. By focusing on this dynamic, the present study analyzes Weather Chart through the theoretical lens of cinematic imagery, thereby expanding the interpretive scope of Kim Ki-rim’s poetic vision.