한국 공포영화의 변화 연구 : 여귀에서 환영으로 = A Study on the changes of Korean Horror Films: From a female ghost to a hallucination

다국어 초록 (Multilingual Abstract)

This thesis aims to find out the causes of the changes of Korean horror films since 2000. The Korean horror films, which disappeared in 1987, were revived by the film <Whispering Corridors> in 1998. After the successful performance of <Whispering Corridors>, horror films have been constantly produced. This condition shows that social notions of Korean horror film genre are significantly changing, reflecting film audience's expectations and sociocultural background.
This study is aimed at providing description of Korean horror films through genre approaches. In addition, this study explores the genre convention and sociocultural implications of Korean horror films, focusing on the recent horror films compared with the traditional horror films. I examine the sociocultural infrastructure of Korean horror films in order to find out the characteristics of the Korean horror film as a genre since 2000. Through this, I intend to examine the changes in the social meanings of Korean horror films.
I closely examine the changes of 'yeoguie(female ghost)' concept, which has been presented as a typical monster character in Korean horror films. The 'guisin(ghost) films has been become the main model of Korean horror films since 1960. Moreover, those has been actively produced between 1998 and 2004, as a genre by comparing them with slasher films massively produced in 2000. However, 'guisin(ghost)'films do not appeal to young generation any more due to the fact that those were stigmatized as 'out-of-date or boring'.
This thesis aims to find out the causes of the changes of Korean horror films since 2000 by analyzing the characteristics of horror films. The current Korean horror films such as <A Tale of Two Sisters>, <The Uninvited>, <R - Point> and <Possessed> are closely examined. Through this analysis, there are some changes of narrative convention have been found in the Korean horror films. Most of all, the recent horror films are being marked by sense of character's guilt under the unconsciousness, instead of existent 'yeoguie(female ghost)'s revenge. This can change confrontation structure such as good and evil. In addition, the recent horror films is ended with present state does not get back. The unsolved ending means that the problems can not be solved by individual.
A horror film can be referred to as 'th return of the repressed', the Freudian concept. The Return of the repressed as the return of the other who has been repressed to maintain the main culture depending on the theoretical assertion of Robin wood can explain 'the repressed other' in the modern history of Korea. Korean horror films began to be produced when Korean society faced the serious economic called 'IMF'. Therefore, 'the repressed other' in the modern history of Korea has returned as the diverse monsters through hallucinations in recent horror films. Through this, I intend to examine the damaged male subject and the breakdown of motherhood and familiarity with 'the family or the neighbors' turned to 'unfamiliarity' in Korean horror films. Focusing on this, it would like to show another way to see Korean horror genre.

목차 (Table of Contents)

• I. 서론 1
• 1. 문제 제기 1
• 2. 연구 대상과 방법 4
• 3. 선행 연구 검토 8
• II. 공포영화 분석의 쟁점들 12
• 1. 장르 그리고 장르적 진화 12
• 2. 장르 구분의 문제 20
• 3. 공포영화의 특성 27
• (1) 공포와 쾌락 27
• (2) 억압된 것의 귀환 29
• (3) 판타지 31
• III. 한국 공포영화의 흐름 35
• 1. 고전 공포영화 35
• (1) 공포영화의 괴물, 여귀 35
• (2) 근대와 공포영화 38
• (3) 공포영화의 소멸 42
• 2. 현대 공포영화 43
• (1) 공포영화의 부활 43
• (2) 고전 공포영화의 반복과 변형 44
• (3) 다양한 억압의 등장 47
• IV. 한국 공포영화 관습의 변화양상 53
• 1. <장화 홍련>
• (1) 원귀가 아닌 환상 53
• (2) 변화된 가족 서사 58
• (3) 인물 대립구도 해체 61
• 2. <4인용 식탁>
• (1) 모성 신화의 해체 64
• (2) 실패한 근대화의 표상 69
• 3. <알 포인트>
• (1) 과거의 소환 76
• (2) 근대화의 희생자-남성 80
• (3) 공포장르의 변화 양상 83
• 4. <불신지옥>
• (1) 불신 시대 84
• (2) 빙의 - 통제에서 소통으로 89
• (3) 미스터리 전략 92
• V. 결론 97
• 참고문헌 100
• Abstract 105