한국영화에 나타난 하층계급 여성상 연구 : 1970년대 영화를 중심으로 = (A) study on Images of Lower-class Women Shown in Korean Films : Focusing on Films in 1970s

다국어 초록 (Multilingual Abstract)

This study examined lower-class women in 1970s, who experienced rapid social changes, through the media of movie. It is true that lower-class women shown in movies of 1970s have been ignored because of too a strong emphasis on sexuality. This thesis focused on not sexuality but class-state of lower-class women, and tried to recognize contradictions that lower-class women face under the patriarchal system, then, inferred her subversive power inside the system.
The base of this study lies on socialistic feminism. Above all, this paper examined circumstances of times in 1970s, minutely analyzed 4 movies well showing lower-class women's life, and examined space they occupy, social status, and social movement to search for their life belonging to the lower-class hidden under sexuality.
<Woman of Fire>(Hwanyeo) showed discords between a lower-class woman who was employed as a kitchen maid and a middle-class family, breakdown of maid's desire to be raised in social rank, and family-breakdown caused by the maid and settled down by the ideology of patriarchal system. <Yeong-Ja's Heydays> (Yeongja-ui jeonseongsidae) focused on lower-class woman's will to be independent in cities by attaining technical skills, their failure in going into the public area, tries to seal possibility of her danger as a lower-class woman by returning her to home. <Manless Street> (Yeojadeulman saneun geoli) examined area-division of men and women owing to the idea that women are inferior to men and reeducation of lower-class women by men. <The Man I Left> (Naega beolin namja) analyzed that the patriarchal system let free women live in peace in their private space.
It was examined that causes of lower-class and patriarchal system worked as a mechanism oppressing lower-class women. Dissensions between lower-class women who came up to Seoul from agricultural communities that became impoverished by the policies of low-priced agricultural products & industrialization and city women and women whom they met are one side of discord between city area and rural area. Therefore, lower-class women's failure in being raised in social rank implied the failure of agricultural communities in city·ruralness feud.
However, what we should pay attention to is lower-class women's subversive power. Even at the moment that unfair elements oppressing women were found, their will and energy toward life made the whole text read in a resisting direction. The ideology shown in movies expressed social capacities by resisting against structural tension and potential power existing in the society with inequality and revealing those powers.
In spite of various limitations, this study is important because it focused on lower-class women that have been neglected in the existing theses.

목차 (Table of Contents)

• 목차 = Ⅲ
• Ⅰ. 서론 = 1
• 1. 연구 목적 및 문제 제기 = 1
• 2. 연구 범위와 방법 = 5
• Ⅱ. 자본주의 도시 공간의 정치학 = 9
• 1. 도시 공간을 어떻게 읽을 것인가 = 10
• 2. 농촌의 희생 위에 성장한 도시 = 12
• 3. 한국 근대화의 상징적 공간, 도시. = 14
• Ⅲ. 여성 억압 기제와 하층 여성의 사회적 경험 = 19
• 1. 중층적으로 결정되는 여성의 지위 = 19
• 2. 하층 여성은 어떻게 억압되는가. = 23
• 3. 하층 여성의 사회적 경험 = 26
• 4. 하층 여성은 말할 수 없는가 = 32
• Ⅳ. 영화에 재현되는 하층 여성 = 36
• 1. 좌절된 계급 상승의 욕망 : 화녀 (김기영. 1971) = 37
• 1) 계급 갈등의 각축장으로써의 공간 = 37
• 2) 가부장제의 균열과 복원 = 40
• 3) 갈등에 따른 인물들의 관계 변화 = 43
• 2. 성차에 의해 분극화된 공적 영역 : 영자의 전성시대 (김호선. 1975) = 49
• 1) 여성에게 차별적인 도시 공간 = 49
• 2) 균열을 봉합하는 장치-가부장적 가족 = 57
• 3. 가부장제 이데올로기로 재교육되는 하층 여성 : 여자들만 사는 거리 (김호선. 1976) = 62
• 1) 근대적 공간 속 전 근대적 공간 = 62
• 2) 공간 이동에 따른 인물의 의상 변화 = 66
• 3) 재교육을 담당하는 가부장적 남성 = 69
• 4. 자애로운 가부장으로의 미봉적 대체 : 내가 버린 남자 (정소영. 1979) = 72
• 1) 계급분화의 기표로써의 공간 = 72
• 2) 착취적 가부장에서 자애로운 가부장으로-미봉적 대체 = 76
• Ⅴ. 결론 = 81
• 참고문헌 = 84
• ABSTRACT = 88