한국 공포영화 사이클의 형성과 전개 1998~2008: 스릴러, 판타지와의 관계사를 중심으로

정영권 한국영화학회 2023 영화연구 Vol.- No.97

본 연구는 <여고괴담>(1998)에서 <고 : 피의 중간고사>(2008)까지 한국 공포영화 사이클의 형성과 전개를 다룬다. <여고괴담>은 1960년대 ‘고전’ 공포영화를새롭게 계승한 ‘현대’ 공포영화의 기원으로 기록된다. <여고괴담>이 처음 등장했* 이 논문은 2021년 대한민국 교육부와 한국연구재단의 지원을 받아 수행된 연구임(NRF-2021S 1A5B5A16077938) 160 영화연구97 을 때 공포영화는 광범위한 판타지, 스릴러와 한데 묶여 취급되었다. 또한 1990 년대 후반에는 <스크림 Scream>, <링 リング> 등 외국 공포영화의 영향이 매우강했다. 2000년 <하피>, <해변으로 가다>, <찍히면 죽는다> 등 할리우드 슬래셔를 모방한 과도적 실험은 실패로 돌아갔고, <폰>(2002), <장화, 홍련>(2003) 등이성공하며 원혼 서린 ‘여귀’가 사이클의 우세종이 되었다. 특히 이 영화들은 IMF 이후 중산층의 몰락, 모성 신화의 위기 등을 드러내며 상처받기 쉬운 정서와 감정의 영역을 건드리며 관객을 소구했다. 그러나 2000년대 중반 이후 소재의 다양화에도 불구하고 자기복제와 B급 프랜차이즈화 등으로 공포영화 사이클은 쇠퇴에 접어들었다. 2000년대 중반까지 관객의 호응을 얻었던 상처받은 여귀들보다는 <신데렐라>(2006), <스승의 은혜>(2006) 등 인간 정신의 병리적 측면을 잔혹한 이미지로 전시하는 영화들이 득세했다. 이는 <여고괴담>에서 <장화, 홍련> 시기의 공포영화보다 2000년대 중반이후 부상하는 사이코패스 스릴러와 친연성이 있었다. <검은 집>(2007), <두 사람이다>(2007) 등은 공포와 스릴러의 경계에 있었고, <고 : 피의 중간고사>의잔혹한 고어 이미지는 <추격자>(2008), <악마를 보았다>(2010) 등과 겹쳐졌다. 그것은 또한 가속화하는 신자유주의 속에서 약육강식, 각자도생의 세계관이 노골화하는 현대적 일상의 살풍경이었다. This study deals with the formation and development of the horror film cycles from Whispering Corridors (1998) to Death Bel1 (2008). Whispering Corridors is documented as an origin of ‘modern’ horror film which inherited ‘classical’ horror films in 1960s. When Whispering Corridors appeared, horror films were treated togehter with a wide range of fantasy and thriller genres. In addition, the influences of foreign horror films such as Scream and The Ring in the late 1990s were very powerful. In 2000, the transitional experiments like Harpy, Bloody Beach, and Record, which modeled Hollwood slasher, chiefly failed. On the other hand, the megahits of The Phone (2002) and A Tale of Two Sisters (2003) made female ghosts with revengeful spirit “prevailing species” of the horror cycle. Especially, these films appealed to the audience, as they penetrated the area of deeply damaged souls through representing the fall of middle class and the crisis of maternal myth since IMF crisis. However, the horror cycle declined because of self-replication and B-franchisation, although there was a diversification of materials since the mid-2000s. The films such as Cinderella (2006) and To Sir, With Love (2006), which bluntly exhibit a pathological aspect of the human mind as cruel images than vulnerable female ghosts appealed by the audience until the mid-2000s became powerful. This tendency were associated by psychopath thrillers which were rising since the mid-2000s than the horror films from Whispering Corridors to A Tale of Two Sisters. While Black House (2007) and Someone Behind You(2007), etc were on the border between horror and thriller, the gruesome gore images of Death Bel1 overlapped with The Chaser (2008) and I Saw the Devil(2010). That was a bare landscape of contemporary daily life in which the worldview of the law of the jungle and “no one backs you up” became conspicuous in the age of accelerated neoliberalism.

The ‘Matriarchal’ Home and the ‘Monstrous-Feminine’: A Feminist Look at a Korean Thriller Film, Hide and Seek

우미성 문학과영상학회 2014 문학과영상 Vol.15 No.1

This article is an attempt to read a 2013 Korean thriller film, Hide and Seek, one of the top three most commercially successful thriller movies in the history of Korean film, from a feminist perspective, in order to assess how the film’s representation can affect audience’s understanding of gender ideology. Traditional psychoanalytic framework has been a dominant discourse in feminist criticism for horror films, providing a useful tool to perceive what is at stake in representation of gendered relations. Borrowing from Barbara Creed’s notion of the ‘Monstrous-Feminine,’ the female psychopath character in Hide and Seek can be interpreted as a subversive power that dismantles the patriarchal masculinity. Unfortunately, however, from social and material level of representing the female villain character, the film does not evoke sympathy or primal fear. The film’s narrative and visual aesthetics set the binary between the affluent upper middle-class versus the lower middle-class/working class including immigrants and the poor people. Although the fears invoked by the image of the monstrous mother reveal a great deal about male anxieties and fears in horror films, they tell us nothing about feminine desire. What is lacking in characterization of Joo-hee is her struggle as a poor single mother living in the highly competitive capitalist environment of Korea. The monstrously greedy representation of the female villain and her distorted family ideology prevent viewers from identifying with her struggle and motive. Hide and Seek ends with the restoration of boundaries, social order, and patriarchy, although the surprising revelation that the slasher is a single mother speaks much more of male anxieties in a Korean context today.

스릴러 소설의 가능성과 전망

오혜진(Oh, Hey-Jine) 우리문학회 2014 우리文學硏究 Vol.0 No.44

정유정의 「7년의 밤」낙오자인 최현수의 부정과 오영제의 가족에 대한 폭력들은 현재를 살아가는 아버지상에 대한 근원적인 성찰과 질문을 던지게 한다. 오영제가 보여주는 사이코패스에 가까운 캐릭터는 우리사회가 안고 있는 사회병리적 문제들을 일정부분 투영한다. 이 소설은 광기로 점철된 괴물 같은 두 남자의 대립과 사건들의 연속으로 끊임없는 긴장과 공포를 조성하고, 댐의 물을 방출하며 한 마을과 숲 전체가 수몰되는 엄청난 범죄로 스펙터클을 연출한다. 작가는 이러한 과정들을 치밀하게 묘사한다. 우리나라 소설들이 사회문화적 맥락에 집중하는 경향이 짙다보니 서사전개의 긴박감과 스펙터클이 부족했던 것도 사실인데 정유정은 이를 일정 정도 유지하면서도 스릴러 본연의 장르적 전개를 충실하게 재현하고 있다. 따라서 이 소설이 가진 몇 가지 한계에도 불구하고, 우리 소설에는 아직까지 드문 스릴러 장르의 특성과 작가나름의 개성을 녹여낸 점은 이 장르의 전망에 청신호일 가능성이 높다. Jeung, yoo-jeung’s ‘The night of the 7th years’ bring out the present Korea’s anxiety, horror, contempt through two families. The father’s attachment of a failure Choi Huyn-soo and the family violence by Oh Young-jae take some time for introspection what is a true father’s image. Oh Young-jae represent psychopath character that the author express korea’s social pathology problems. Then twomadness men as like monster are in confrontation with each other over revenge, the reader feel horror and suspense. And the novel create a spectacle scene that damrelease great water, as a result a village around the damis in danger of being submerged. The crime is done by Choi Huyn-soo. Jeung, yoo-jeung describe minutely those situation. In truth most Korea’s mystery novel treat urgent narratives and spectacle poorly because they are more concerned with Korea’s social context. Otherwise Jeung, yoo-jeung show a special thriller genre quality. This novel has some weakness, yet show development possibility over the author personality, genre feature.

TV드라마의 과학적 상상력-『M』, 『RNA』를 중심으로-

문선영 한국문학이론과비평학회 2019 한국문학이론과 비평 Vol.82 No.-

The 1990s was a time when interest in science grew. You can also find science dramas on television. In the 1990s, medical keywords emerged in TV dramas. New attempts to utilize medical materials have come into full swing in TV dramas. Among them, ‘Medical Thriller Drama’ also appeared. 『M』 and 『RNA』, the representative works of medical thriller in the 1990s, are medical dramas of that time. The two works are dramas that attempted to pioneer new genres. These dramas do not only utilize medical space and character settings. It is actively exploiting public interest in medical knowledge. Thus, medical thriller dramas can identify how science is reproduced in the 1990s. 『M』 and 『RNA』 are based on scientific imagination. Therefore, it is meaningful in that it reflects the public sentiment of social change related to the development of science and technology in the 1990s. Both the expectation and fear of science and technology, which became an issue in the 1990s, are expressed at the same time. Reenacted by 『M』, 『RNA』, technology is fascinating, but close to danger. This is starting from the imagination that science at that time was a factor of fear and anxiety rather than expectation. 1990년대는 과학에 대한 관심이 높아졌던 시기였고, 텔레비전에서도 과학 소재 드라마를 발견할 수 있다. 1990년대는 TV드라마에서 의학 키워드가 부각되며 의학 소재를 활용한 새로운 시도들이 본격화되었다. 그 중 공포물의 색깔을 강하게 가진 ‘메디컬 스릴러 드라마’도 등장했다. 1990년대 메디컬 스릴러 드라마의 대표작인 『M』, 『RNA』는 당시 의학 드라마의 외연을 확장하며 새로운 장르적 개척을 시도한 드라마라고 할 수 있다. 이들 드라마는 의학 관련 공간, 인물 설정만으로 그치는 것이 아닌, 의학적 지식에 대한 대중의 관심을 적극적으로 활용하고 있다. 그러므로 메디컬 스릴러 드라마는 1990년대 과학을 재현하는 방식을 확인할 수 있다. 『M』, 『RNA』는 과학적 상상력을 바탕으로, 1990년대 당시 과학기술 발전과 관련된 사회 변화에 대한 대중적 심리를 반영한다는 점에서 의미가 있다. 1990년대 이슈화되었던 과학기술에 대한 기대와 두려움을 동시에 나타내고 있는 것이다. 『M』, 『RNA』를 통해 재현된 과학기술은 매혹적이지만, 위험한 것에 가깝다. 이는 당시 과학이 기대보다 두려움과 불안을 유발하는 요소라는 상상력에서 출발하고 있다.

공포쾌감과 반복강박: 『드라큘라』와 『나사못 조이기』

나희경 ( Hee Kyung Nah ) 근대 영미소설 학회 2006 근대 영미소설 Vol.13 No.1

Bram Stoker`s Dracula and Henry James`s The Turn of the Screw, respectively typifying the Gothic horror thriller and the psychological ghost story, invite their readers into a particular state of mind in which such self-contradictory emotions as dread and curiosity, and abhorrence and attraction are fused. In Dracula, Stoker externalizes the supernatural vampire into a concrete visual image, the effect of which is to incite the sensational elements of horror of the reader. As a result, the reader experiences the paradoxical pleasure of terror by easily projecting his or her suppressed desire into the objectified Dracula. Meanwhile James explores the psychological features of the feeling of terror in The Turn of the Screw. In James`s novel the ghost is never objectively substantialized. Accordingly the reader of the novel gets confused in judging whether the agent of evil is the allegedly evil spirit of Peter Quint who died an unnatural tragic death or the self-deluded Miss, a living persona who is obsessed with self-imposed mission to fight against the demon which nobody except her can see. After appreciating the novel Dracula, the reader is supposed to experience catharsis which ensures the pleasure of terror, while the reader of The Turn of the Screw, who gets trapped in the a complex psychological condition of repetition compulsion, cannot completely shake off the fear and tension which he or she has undergone while reading the novel.

〈케이프 피어〉의 리메이크 영화 비교 연구

이정국(Lee Jeong Gook) 한국영화학회 2008 영화연구 Vol.0 No.35

1. Meaning and type of Remake 'Remake' is a new version of an old film, and to make film again or in a new way. Actually 'remake' in the scripts almost is the same meaning with adaptation. The origina1(work) only is not literature or drama but a film itself. 2. Comparative directing study of J. Lee Thompson and Martin Scorsese I selected Cape Fear as a main text because each two film stand for well-made Hollywood movies and the style of Auteurism director 1) Script- adaptation I think that the most part of film directing is script. To select and adapt a good original work also the very important process in directing. ① Concrete genre- horror thriller ② Main theme- study of human nature ③ Vivid character-Sam, Dani, Rori ④ Reinforcement of episodes ⑤ Addition of motif ⑥ Variation of last scene 2) Aesthetics of film directing ① Cinematography- camera's composition and movement ② Comparative of each two scene ③ Mise-en-scene ④ Editing- psychological description 3) Acting Film directing is composed of harmony of script, acting, directing. All actors of Scorsese's Cape Fear is played excellent acting 3. Epilogue The most recent, 'remake' is a trend. Some people could regard it as negative tredency. but I think those trend would be another alternative because lack new material and idea.