<transcript><audio_96> 다른 말로 하자면 대상화가 된 것이죠 무언가를 위한 대상화 수단이 된 것이죠 침팬지나 동양아역 배우였던 스티븐이</transcript><transcript><audio_97> 혹은 그 무명의 흑인 기수나 혹은 영화계의 종사였던 유색 인종 스태프라던가 더 크게 보자면 착취를 당하는 입장에서 본다면</transcript><transcript><audio_98> 이런식으로 착취라는 단어에 집중해서 영화를 보셔도 되겠다 이런 생각이 들지만 굳이 그렇게까지 하실 필요는 없는데 여하튼 스티브 연이 생각보다 중요한 역할을 소화를 하셨습니다.</transcript><transcript><audio_99> 악역은 아닌데 다른 분들의 표현을 빌리자면 트라우마에 사로잡힌 분인데 그래서 그 환상에서 그 중독에서 벗어나지 못하고 계속해서 그것을 맛보려고 하는 그런 상황인거죠 그 과정 중에서</transcript> word 'exploitation' is not a word that can be used so important. In other words, it has become an object.  It has become a means of objectification for something. It is not just Ichim PNG or any Steve of an Asian child actor, or that civilization is a black rider, or a Confucian race staff member who worked in the film industry, but to put it more broadly, if you look at it from the position of being exploited, you are bound to become angry in front of the camera.  I think you can watch the movie by focusing on the word exploitation in this way, but I don't really want to know that much, but Steve Yeon still played a more important role than I thought. In English, the villain is No, but other people's votes are that the suspect has already been caught in trauma, so he is in a situation where he cannot escape from that fantasy and is addicted to it, and continues to try to taste it. In the process, he is he is in a situation where he cannot escape from that fantasy and is addicted to it, and continues to try to taste it. In the process, he is
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