커뮤니케이션대학원 졸업논문
백남준, 조지 오웰, 굿모닝미스터오웰, 1984, 이미지, 이데올로기, 이데올로 기적 이미지, 빅 브라더. 헤테로토피아, 기술적 헤테로토피아
본 연구는 조지 오웰(George Orwell)의 디스토피아 소설 『1984』와 그것을 비 판적으로 해석한 백남준의 인공위성 작품 <굿모닝 미스터 오웰>(이하
이 연구를 위해 본 연구자는 먼저 『1984』와
이데올로기적 이미지로 대입하여 1990년 1월 1일부터 현재까지 지난 30여 년 동안 ‘이데올로기적 이미지’가 어떻게 변화했는지 정량적!정성적으로 조사해 분석하고자 했다.
이를 위해 본 연구자는 한국언론진흥재단이 선정한 국내 54개 언론사를 대상으 로 지난 1990년 1월 1일부터 2020년 10월 15일까지 수집한 정형화 된 데이터를 표 집자료로 삼아 형태소 분석, 개체명 분석, 네트워크 분석, 명사상당어구로 구조화 된 SVM(Support Vector Machine) 분석 그리고 연구자가 입력한 질의어 기반의 검색 결과에 관한 공시적 분석과 동적 워드 클러스터링 작용방식인 토픽랭크(topic rank) 를 이용한 알고리즘 분석 등을 기반으로 마르크스주의 및 스탈린주의적 이데올로기 소멸 이후의 『1984』와
그 결과 『1984』와
끝으로 본 연구자는 전술된 이론 및 연구결과 등을 바탕으로 『1984』의 기술적 디스토피아와
The following is a study on the change in the ideological image of George Orwell’s dystopia novel “1984” and Nam June Paik’s satellite installation “Good Morning Mr. Orwell”, which critically interpreted the work. This study aims to empirically examine the ideological image that “1984” and “Good Morning Mr. Orwell” have represented according to changes in social environment and structures to approach the technological dispute between those who support technology and those who oppose it, and deductively explore the possibility of a new change in ideological image. For this study, the researcher first looked into the traditional perspectives and modern, contemporary debates on images to examine the changes in ideological images of “1984” and “Good Morning Mr. Orwell”, and theoretically studied the origins of ideology, Marx-Engels’s ideology debate and modern debates. Based on this, Erwin Panofsky’s first-level iconology, which interprets the pure motif, was criticised, the image was extracted from the third-level iconology where allegory and story intersect and reflecting the views of Jean-Paul Sartre and W. J. T Mitchell who argued Jacques Rancie?re’s conception of separating altruistic image from modern vitality is the image itself strived to form the ‘present-state of the image’. In order to distinguish the image from the ‘Marxist Ideology’ of class struggles, the modern image has been defined as ‘ideological image’, while establishing and analysing the theoretical foundation for the ideological image of “1984” and “Good Morning Mr. Orwell”. The study then points out the fall of the Berlin Wall in November of 1989, the reunification of Germany in 1990 and the dissolution of the Soviet Union, the first communist country in history, in December of 1991. Afterwards, the study analyses how the social interest and utilisation of “1984” and “Good Morning Mr. Orwell”, having been used as a political ideology, has been substituted as an ideological image, and how it has changed qualitatively and quantitatively over the past 30 years from January 1, 1990.
For this purpose, the researcher has compiled standardized data as samples
from 54 domestic media outlets selected by the Korea Press Foundation from January 1, 1990, to October 15, 2020, to perform analysis on morphemes, entity names, networks, Support Vector Machines(SVM) structured by noun equivalents, synchronic analysis of search results based on query language and algorithm analysis through a dynamic word clustering method called topic rank, etc. in order to further analyse the ideological images of “1984” and “Good Morning Mr. Orwell” after the extinction of Marxist and Stalinist ideologies, by posing three research questions, followed by quantitative and qualitative analysis. The results showed that anti-Stalinism and anti-communism, the common political ideology that flows between “1984” and “Good Morning Mr. Orwell”, has changed from a political ideological image during the period before the 1990s to a technological ideological image. Among them, “1984” displayed a clear change from the pre-existing political ideological images to a technological ideological image, and “Good Morning Mr. Orwell” has displayed a clear change from its pre-existing media-oriented ideological image circulating TV, videos, etc., towards a technology-based surveillance ideology. These results may have been the basis for the consideration of the issue and the reciprocal possibility of analysis under situations where a definition of ideological images and quantitative investigations through social big data were non-existent.
In conclusion, the researcher sought for what may come after conflicts between the technological utopia of “Good Morning Mr. Orwell” and the technological dystopia of “1984” based on the aforementioned theories and research results. The researcher has applied and defined Nam-June Paik’s hetero-technique, pharmakon, dual interwoven, and other concepts based on the time, sounds, Zen understanding connoted in “Good Morning Mr. Orwell” to the ‘technological heterotopia’, and arranged it between “1984” and “Good Morning Mr. Orwell” to seek for possibilities of suggesting a more humane ideological image.