이명박, 박근혜 정권이 봉준호 감독, 박찬욱 감독 등 예술인들을 적나라하게 증오하고 탄압했다. 특히 '올드 보이' '친절한 금자씨' 박찬욱 감독, '괴물' '살인의 추억' '설국열차' '기생충' 봉준호 감독은 과거 진보정당인 민주노동당 당원이었다. 이 때문에, 보수적이고 친미 우익정권이었던 이명박 박근혜 정권은 박찬욱, 봉준호 감독 등 예술인들의 정치 참여를 극도로 혐오하고 두려워했다.
그 방식은 과거 박정희, 전두환, 노태우 군사정권 하에서 저질러진 '언론의 자유' '예술 표현의 자유'를 탄압하던 것과 똑같았다.
봉준호 감독을 블랙리스트에 올려 탄압했던 자유한국당이 봉감독이 아카데미 작품상을 수상하자, 그 고향 대구에 봉준호 기념관을 세우겠다고 했다가, 여론의 뭇매를 맞았다.
이들 가치관은 강자의 논리가 '선'이고 '정의'이라는 것이다. 봉준호 감독의 가치관과는 정면으로 어긋나는 태도이다. 봉준호 감독은 이러한 자유한국당의 '거삐딴 리' 태도에 대해서 뭐라고 반응할까? 샤론 최는 뭐라고 통역을 할까? 궁금해진다.
가디언 지 : https://www.theguardian.com/world/2020/feb/10/south-korea-basks-in-parasites-historic-oscars-win
두 정권서 '블랙리스트'…"기생충, 한국 민주주의의 승리"
[JTBC] 입력 2020-02-12 21:50
[앵커]
봉준호 감독은 "사회 저항을 부추기는" 인사로 배우 송강호 씨는 정부에 비판적인 인사로 분류되던 때가 있었습니다. 이런 고초를 딛고 일어섰기에 이들은 아카데미의 '블랙리스트 투쟁사'에도 한 획을 그었다는 평가를 받습니다.
조보경 기자입니다.
[기자]
박근혜 정부 "경찰을 무능한 집단으로 묘사해 부정적 인식을 주입한다"
- 살인의 추억 -
이명박 정부 "반미 및 정부 무능을 부각시킨다"
- 괴물 -
박근혜 정부 "시장 경제 부정, 사회 저항을 부추긴다"
- 설국열차 -
이명박, 박근혜 정부가 봉준호 감독의 영화에 내린 평가입니다.
봉 감독은 두 정권에서 '문화계 블랙리스트'에 포함됐고, 강성좌파로 분류됐습니다.
진보 정당의 당원이었다는 이유 때문입니다.
[봉준호/감독 : (지난해 5월) : 실질적인 고초가 있었냐 없었냐를 떠나서 리스팅 했다는 자체가 창작자들에게는 지울 수 없는 상처죠. 두 번 다시 그런 일은 없어야겠죠.]
배우 송강호 씨도 박근혜 정부 때 정부에 비판적인 문화계 인사로 분류돼 어려움을 겪었습니다.
[송강호/배우 (2017년 5월) : 제가 어떤 작품을 선택할 때 각본을 읽고 제일 먼저 드는 생각이 '아, 이 작품은 또 정부에서 싫어할 내용 같다' 자기 검열을 하다 보면 심리적인 위축감이…]
외신은 블랙리스트가 이어졌다면, 기생충은 없었을 것이라며 '한국 민주주의의 승리'라고 평가했습니다.
아카데미 수상의 역사를 보면, 반정부 인사로 낙인 찍혀 실명으로 상을 받지 못한 사람도 있었습니다.
1953년 시나리오 작가 돌턴 트럼보는 로마의 휴일의 각본을 썼습니다.
하지만 당시 미국 정부의 블랙리스트에 올라 가명으로 '아카데미 원작상'을 받았습니다.
(영상그래픽 : 김정은)
참고 기사:
Oscar for ‘Parasite’ Quenches Koreans’ Long Thirst for Recognition
As Bong Joon Ho’s film received Academy Awards for best picture and best director, the honors set off cheers and a burst of pride in a country fearful of being overlooked.
SEOUL, South Korea — Much of the world knows South Korea by its cultural products, including its increasingly popular movies, TV dramas and K-pop performers like BTS and Psy. Now the country has received once-unthinkable validation of its artistic achievement: a best-picture Oscar.
On Monday, the director Bong Joon Ho’s “Parasite,” a genre-defying film about class warfare, won that award and three other Oscars, including best director. It was a historic moment for both the Oscars and South Koreans: “Parasite” was the first ever foreign language film to win the top Academy Award, and for South Korea, it was a moment of collective national pride.
In office buildings in downtown Seoul, where people were watching live streams of the awards ceremony, cheers rang out on Monday morning. The South Korean president kicked off his staff meeting with a round of applause for the director. Local media sent out news flashes.
“‘Parasite’ wins four Oscars, including best picture, and rewrites the 92-year history of Oscars!” read a banner news alert on the home page of the national news agency, Yonhap.
South Koreans expressed surprise and gratification over the honors.
“Frankly, I haven’t had high expectations because I thought they made conservative choices when selecting Oscar awards,” said Baek Young-hoon, 50, a South Korean movie fan, referring to the longstanding dominance in Hollywood of white filmmakers focusing on stories about white people. “So this comes as a great pleasant surprise to Korean people. We have been longing for global recognition of our movies at the Academy Awards.”
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“Bong Joon Ho and his ‘Parasite’ made me proud of being Korean,” said Kim Ki-nam, 28, a seller of smartphone accessories in Seoul, calling it a “Korean film winning an Oscar with an all-Korean cast and with a Korean tale!”
As soon as “Parasite” hit the screens last May, it resonated with South Koreans because it used a masterful mix of comedy, satire and violence to describe one of the country’s biggest social and political issues: widening income inequality and the despair it has generated, especially among young South Koreans.
“People around the world could relate to the polarization it describes,” said Huh Eun, a retired college professor in Seoul and a fan of Mr. Bong’s films. “The film was an extended metaphor for how the deepening rich-poor gap in advanced capitalist societies breeds blind hatred and crimes.”
In the movie, a poor family living in a stifling semi-basement home uses subterfuge to get various jobs from — and feed off — a rich family in Seoul. Hence the movie’s name.
The film touched nerves among South Koreans because of its depiction of the squalor and exorbitant housing prices the poor face in the country’s congested capital city, and the deepening fatalism among the have-nots over their inability to climb the social ladder.
The gap and alienation between the so-called gold spoon and dirt spoon fueled a recent scandal involving the country’s justice minister, who was accused of using his influence to help his children get into prestigious colleges. The minister, Cho Kuk, resigned after weeks of public uproar, and President Moon Jae-in apologized to young South Koreans over the country’s growing economic inequality.
Mr. Bong’s film proves that a story that examines the struggles of ordinary South Koreans could strike a chord around the world because of the inequalities that afflict many societies.
“Miracle!” Woosang Lee, a Korean in Vancouver, Canada, wrote on Twitter. “I am happy and proud to be Korean. I have never imagined that this kind of thing would come.”
Another Twitter user said it “feels surreal to see a movie in your first language earn this much prestige from a Western audience.”
The Korean Peninsula was divided into North and South Korea by foreign powers against the Koreans’ will at the end of World War II. That history left both Koreas with a deep fear of being ignored.
Although South Korea has transformed itself from a war-torn economic basket case into one of the economic powerhouses of Asia, it still nurses a perpetual hunger for international recognition. One of the country’s pet grievances remains that its scientists and writers have yet to win a Nobel Prize.
In South Korea, athletes, artists and entertainers have been looked down on as pursuing inferior professions. Mr. Bong was among hundreds of artists, writers and filmmakers who had been deemed uncooperative and blacklisted by the government under a former president, Park Geun-hye, who was impeached.
But it was South Korean athletes, filmmakers and other artists who helped put South Korea on the map by winning Olympic gold medals and professional golf trophies and by going viral on global social media with K-pop music, videos and films.
South Korean films have won awards in major international festivals since 2002. (“Parasite” itself won the Palme d’Or at the Cannes Film Festival in May and the Golden Globe for best foreign film last month.)
But until now, an Academy Award had proved elusive.
“It’s a little strange, but it’s not a big deal,” Mr. Bong told an interviewer last year, when asked why no Korean film had ever been nominated for an Academy Award despite the country’s outsize influence on cinema over the past two decades. “The Oscars are not an international film festival. They’re very local.”
On Sunday night in Hollywood, the Oscars were local no more.
In Seoul, word of the honors for Mr. Bong was celebrated by everyone from the American ambassador to President Moon, who started his presidential staff meeting on Monday with a clapping of hands for the director and “Parasite.” He later thanked Mr. Bong for “instilling pride and courage in our people.”
“‘Parasite’ has moved the hearts of people around the world with a most uniquely Korean story,” he said. “It reminds us of how touching and powerful a movie can be.”
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