한국 영화 광고의 의미구조와 이데올로기 : 멜로 영화 포스터에 대한 기호학적 분석을 중심으로 = (The) structure of meaning and its ideology in Korean movie advertising : a semiological approach on melodrama-movie poster

다국어 초록 (Multilingual Abstract)

The purpose of this study was to investigate meaning structure of the mythology by seeing how is woman's image painted inside the center to Korea's melodrama-movie poster. Movie posters are not only media that the public who go to the cinema take actively to get some information which they want, but also from past to present they permeate to the place where our real life is, under presumption that meanings inside it causes a lot of effects I get this study started. Reason that limit specially the analysis subject as 'melodrama' genre among great many Korean movie poster is that genre called melodrama has been produced more than any other genre from past to present in our country and took the most smash hits. That is to say that the genre called melodrama is the most influential genre in Korea, so it is thought that analyzing melodrama-movie poster is more representative than analyzing other genres.
In order to attain the purpose of this study, the author constructed research questions as follows:
Research Question 1 : What things is woman's image seen in melodrama-movie poster?
Research Question 2 : What is woman embossed mainly in these image?
Research Question 3 : what meaning do these woman images contain and what things is ideology discovered in such meaning process?
For answering each of these research questions, the author utilized many kinds of research methods. To analyze a woman's image inside Korea's melodrama-movie poster, symbolic analyses used, among them to search for the images embossed, ideology, mythology, Barthes's mythology analysis method and A.J.Greimas's symbol quadrilateral analysis method were used.
As results of this study, first of all, it was found that the woman's image inside melodrama-movie poster and mythologies and ideologies created in those images are as follows.
First, woman is painting by existence, that is, immeasurably passive state that can not become independent without man's some help. This image is painted as it has leaned against to man mainly and been embraced to man or happy image by receiving man's love and this becomes symbolic as woman wants man to do something boundlessly.
Second, woman exists as simple sex object. These images are divided into two categories, which is painted as an another character, namely sex object for man and as sex object for audiences who watch with man's mind outside the poster, but woman's naked body is seen in state that is exhibited like goods mainly.
Third, in family woman is self-sacrificing or obedient wise and good wife's image or if not so, unlike man's image which is self-deciding and self-centered, as part of family, woman's image was painting as figure which is deserted outside person who can not make own voice.
Fourth, woman and woman are established by relation clannishly each other. Images are found in a poster where woman and woman appear together painted clannishly as relationship between a daughter-in-law and a mother-in-law and relationship between a daughter and a mother or images are painted competitively and clannishly as relationship between woman and woman within colleagues.
Fifth, even if woman's image is painted unlike methods above, namely self-deciding, active, positive image, it was discovered that the image has also some limits. This can be seen as that even though woman's image is described positively but still the gender of camera which paints woman with such a positive delineation is male.
Through these kinds of result, it concluded that the Ideologies detected through these delineations can be summarized as 'Man-centered ideology', 'Ideology of fixing to sex roles', 'family ideology based on a husband' 'ideology for sex object' 'ideology for woman's object' etc and ideologies such as above are being buried and hided within romantic and fantastic images - today, this tendency is more deepen.

목차 (Table of Contents)

• 목차 = i
• 표목차 = iv
• 그림 목차 = v
• 제1장 서론 = 1
• 제1절 문제제기 = 1
• 제2절 연구목적 = 4
• II. 이론적 배경 = 6
• 제1절 신화 = 6
• 1. 신화 = 6
• 1) 신화의 개념 = 6
• 2) 레비-스트로스의 신화 = 7
• 3) 바르트의 신화 = 9
• 2. 여성과 신화 = 12
• 제2절 이데올로기 = 13
• 1. 이데올로기 = 13
• 2. 여성과 이데올로기 = 16
• 제3절 멜로드라마 영화의 특성 = 19
• 1. 멜로드라마의 역사 = 19
• 2. 멜로드라마의 정의 = 21
• 3. 멜로드라마의 양식적 특징 = 21
• 4. 한국 멜로드라마의 수용과 변화 = 23
• 제3장 연구문제 및 연구방법 = 25
• 제1절 연구문제 = 25
• 제2절 연구방법 = 25
• 1. 분석대상 = 25
• 2. 분석방법 = 26
• 1. 기호학적 방법론의 적용 = 27
• 1) 계열체 분석과 통합체 분석 = 27
• 2) 범주화 = 29
• 3) 바르트의 의미작용 = 30
• 4) 그레마스의 기호사각형 = 32
• 제4장 연구결과 = 36
• 제1절 1970년~2003 멜로 영화 포스터 분석 = 36
• 1. 통합체 계열체 분석 = 36
• 2. 소결 = 46
• 제2절 범주별 텍스트의 구체적 분석 = 50
• 1. 수동적인 여성 이미지 : <오! 수정>분석을 중심으로 = 51
• 1) 신화 분석 = 51
• 2) 기호사각형 분석 = 56
• 3) 소결 = 59
• 2. 능동적인 여성 이미지 : <엽기적인 그녀> 분석을 중심으로 = 61
• 1) 신화 분석 = 61
• 2) 기호사각형 분석 = 66
• 3) 소결 = 69
• 3. 남성의 성적 대상물인 여성 이미지 : <나쁜 남자>분석을 중심으로 = 71
• 1) 신화 분석 = 71
• 2) 기호사각형 분석 = 77
• 3) 소결 = 80
• 4. 관객의 성적 대상물인 여성 이미지 : <바람난 가족> 분석을 중심으로 = 82
• 1) 신화 분석 = 82
• 2) 기호사각형 분석 = 87
• 3) 소결 = 90
• 5. 가족 구성원인 여성 이미지 : <집으로> 포스터 분석을 중심으로 = 91
• 1) 신화 분석 = 91
• 2) 기호사각형 분석 = 96
• 3) 소결 = 98
• 6. 우정적 대상인 여성 이미지 : <고양이를 부탁해> 포스터 분석을 중심으로 = 100
• 1) 신화 분석 = 100
• 2) 기호사각형 분석 = 104
• 3) 소결 = 106
• 7. 독자적인 여성 이미지 : <이프> 포스터 분석을 중심으로 = 108
• 1) 신화 분석 = 108
• 2) 기호사각형 분석 = 113
• 3) 소결 = 116
• 제5장 논의 = 117
• 제1절 분석에서 드러난 여성 이미지 = 117
• 제2절 여성 이미지와 이데올로기, 신화 = 119
• 제6장 결론 = 121
• 제1절 요약 = 121
• 제2절 결론 = 123
• 제3절 연구의 한계 및 제언 = 124
• <참고문헌> = 125
• ABSTRACT = 127