대중 영웅 영화로서의 '김두한 영화' 분석 = (The) analysis of ‘Kim Doohan films’ as the masses superhero film

다국어 초록 (Multilingual Abstract)

This study tracks the historical change of Kim Doohan’s films which are a sub-genre of Korean action films. As “Chunhyangeon” appeared on every step of the technical development, so has Kim Doohan’s filming with a over sensitive style, noticing the external environment, especially within the political and social changes. Therefore it becomes an indicator, observing and showing the change in Korean society.

What enticed Kim Doohan to appear in the films was The Paldo Guys (1969), which was a new blend of action and adventure which went along with the changing cultural trend, it can be called the ‘Paldo-boom’ (‘Paldo’ means the eight provinces of Korea). The government, at that time, consciously popularized this cultural phenomenon called the ‘Paldo-boom’ as a plan to bundle the minds of people up. And it played a big part as a breakthrough for the members of the movie industry and the audiences who were thirsty for the Korean traditional action films. Through this process, Kim Doohan who was once a gangster became the national hero. Therefore, we can say that Kim Doohan’s films reflect a predominant ideology, and other films after that in turn showed the ideological transfiguration of Korean society. In the mid-70s, Kim Doohan went from a national hero to an anticommunist hero after the military dictatorship established justifying itself as anticommunist. The youth of the lower class in the city, who were the main consumers of action movies at that time, psychically got a confirmation that they too were people of Korea. This can be regarded as a collusion against fascism. At the same time, however, this cycle of energy can also be called self-helping effort of the members of the action movie industry who pushed to express their ideas and duties. That is, pioneering the new path of action films in an environment where their freedom for making films was oppressed.

Superhero always survives in the public under reinterpretation. The meaning alters with the feelings and ideas possessed by the audience as the story repeats. This is proved in the movie The General’s Son, a new Kim Doohan’s film which accomplished the revival of the new action film genre at the beginning of 90s.
With the end of one ideology which is led by democratization, Kim Doohan gave rebirth to the post ideological film. This didn’t just end up in making the action film genre-which was considered to be an old thing trying to revive itself rising from the dead, but it became a new beginning of Korean films that can compete against Hollywood films. After that, action films have become one of the major genres, violence being such a vital part of it, we can say it is a regular feature of Korean movies now.

In this thesis was a particular look on the lives of the superhero and pop genre. So many changes were there for about 100 years, just like nature, but the basic things never changes in it. That’s a big fight, trying to visualize what the public aspires to be. Kim Doohan’s films carry out the role as a chronicler of this fight in Korean film history.

목차 (Table of Contents)

• Ⅰ. 서 론 1
• Ⅱ. 대중 영화의 특성 4
• 1. 예술이자 소비행위로서의 영화 4
• 2. 장르와 대중의 취향 6
• Ⅲ. 대중 영웅의 서사 구조 12
• 1. 캠벨의 원질신화로 조망한 김두한 자서전 12
• 2. 프라이의 역사 비평을 통해 본 ‘영웅’ 김두한의 위상 16
• 3. 에코의 대중 서사 분석과 김두한 영화 19
• Ⅳ. 한국 영화사 속의 김두한 영화 26
• 1. 항일 혈통의 민족 주먹 : ‘김두한 신화’ 정립 27
• 2. 민족의 주먹에서 반공의 주먹으로
• : ‘김두한 신화’의 파시즘화 41
• 3. 1980년대 김두한 영화의 길 찾기 : 모색과 좌절 53
• 4. 탈정치 ․ 탈이념의 입구에서 새로 발견된 김두한
• : <장군의 아들> 60
• Ⅴ. 결 론 67
• < 참 고 문 헌 > 70
• Abstract 73