소노 시온(園子溫) 영화를 통해 본 현대일본의 아이덴티티 문제 －<자살클럽>과 <노리코의 식탁>을 중심으로－

초록

A Japanese director Sion Sono(園子溫, born in 1961), who is not so familiar to us yet, has been depicting the world of violence and sexuality filled with poetic and philosophical messages through the shockingly impressive works such as Strange Circus(2005), Love Exposure(2008), Cold Fish(2010), Guilty of Romance(2011), and so forth after the great success of Suicide Circle(2001) and its second film Noriko’s Dinner Table(2005). In addition to these, he has also presented a kind of realistic visions in much more direct ways by Himizu(2011) or Land of Hope(2013) after 3․11 disaster. The purpose of this paper is to try a psychoanalytic interpretation of Sion Sono’s film, centering on his Suicide Circle(自殺サークル) and its second film Noriko’s Dinner Table(紀子の食卓), in terms of the concepts of Jacques Lacan(1901~1981), for example, Lacanian subject, traversing fantasy, the imaginary-the symbolic-the real, jouissance, etc. In so doing, this paper will pay special attention to the problem of identity in contemporary Japanese society.

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