Foreign movies in Ahn Su-Gil's novels are driving forces for narration. First, they are a code of forming love. Second, they are a means of communication between characters. Third, foreign movies are a tool for leading to the discourse on morality. Tr...
Foreign movies in Ahn Su-Gil's novels are driving forces for narration. First, they are a code of forming love. Second, they are a means of communication between characters. Third, foreign movies are a tool for leading to the discourse on morality. Tryst, presented in 1949, shows an origin of the 'tryst motif' in popular novels, while at the same time it shows one of the methods in which a writer establishes a moral. In this novel, Ahn highlights the tryst as an object of precautions by the movie "Tryst," and puts a stress on the conjugal affection simultaneously. He cannot show love as men and women's affections in his popular novels, but accuses immorality of the tryst as a method of love. He uses the tryst motif in his novels to make for precautions against the tryst rather than to show the men and women's pure affections in his novels, and after all he makes them return to their home respectively. The American movies introduced in Ahn's popular novels indirectly suggest that the writer pays attention to the American-Western style modernization for the purpose of rebuilding morals in the Korean post-war society.