1990년대 이후 한국 멜로드라마 영화의 변화 : <접속>에서 <오버 더 레인보우>까지

박지연 영상예술학회 2004 영상예술연구 Vol.4 No.-

The purpose of my essay is to discover the tendencies of contemporary Korean melodramas and to understand their meaning by examining modern melodramas since the 1990's. The post-1990's melodramas secede from the tradition of Korean melodrama, separating from the excessive style of emotion and then discovering the meaning of everyday life. That is to speak, these melodramas, severing the linkage with the past, begin to remove the sentimental characteristics and absorb the sensibility of modern city life. For example, besides Contact as the outset, Christmas in August seems to be a momentum. For the description of everyday life became characteristic in the mainstream of contemporary Korean cinema since this movie, even though the following works couldn't compete with the aesthetic of the everyday life in Christmas in August. This tenacious inquiry on the everyday life in the late 1990's movies seems to be related to the socio-economic changes of the 1990's Korean society. While 1980's Korean society confronted the social conflicts around the issues resulted from the rapid modernization, 1990's Korean society settled down the democratic form even in appearances and seemed to be stable economically. In addition, the macroscopic discourse began to give place to microscopic discourse, such as the mode of desire, the economy of consumption, and the new wave of sensibility. As this sort of microscopic arena has occupied the center of discourse, the private life - the everyday life, which was rare seen in the past, had an opportunity to be shown through the cinematic representation. In addition, it is also related to the change of the 1990's Korean society that some of melodramas focused their theme on the individual issue out of family matters. In the traditional Korean melodrama, the sources of the sentimental style were conflicts with families, from the inner relationships of family, and between an individual and a family. While on the other, the post-1990's melodramas seceded from this kind of sentimental style, concentrating on not a family but an individual and his or her everyday life. For example, An Affair and Happy End seem to preserve the heritage which was consistently kept in the Korean melodrama. These movies are distinctive in the post-1990's melodramas in that they present the family issue as a subject matter. However, they also have a linkage with the contemporary melodramas because they concentrate on the daily marriage life. Furthermore, they show the characteristic tendency of the post-1990's melodramas in the endings that expose the hidden anxiety in the patriarchy. Meanwhile, the 2000's Korean melodramas renew the excessive mode of melodrama by varying the time structure or intersecting different time zones. If crossing each other, mismatch, or haphazard coincidence was the typical melodramatic strategy for the audience's sympathy, the contemporary Korean melodramas replace the traditional mode of excess by the transformation of time structure. For example, Failan and Over the Rainbow show the flashback structure that inquiries the unknown or forgotten past by intersecting the present and the past, eventually delivering narrative tension to the audience. Moreover, Ditto, II Mare, and Bungee Jumping of Their Own allow different dimensions of time cross each other through a mediator. As a result, the classical narrative around crossing of lovers becomes more ardent in this unrealistic time structure. While the melodramatic mode of excess appeared from violating the principle of classical realism, these melodramas expand themselves toward a sort of fantasy in the way of intersecting the past and the present beyond the reality. In other hand, the changes of melodrama shown in the late 1990's and the early 2000's seem to be the genre attempt to address the contemporary audience's taste. So to speak, the transformation of melodrama was inevitable for the audience who began to feel bored by Ihe sentimentalism and the cliche of traditional melodrama. Therefore, the contemporary melodramas were willing to dispose the sentimental mode and capture the atmosphere of everyday life. In addition, it seems to be an attempt to go beyond the old convention and appropriate other genre styles that these movies renew the melodramatic excess by building the new time structure. These melodramas present the new time structure in order to show what happened to him or her, how they will meet each other, or what will happen to him or her. In this way, they adopt the narrative of inquiry, just for they provide the tension, so to speak, the melodramatic suspense to the audience.

멜로드라마 속의 사로잡힌 정동(Captive Affects), 탄력적 고통(Elastic Sufferings), 대리적 대상(Vicarious Objects) —어구스틴 잘조사의 멜로드라마 재고

안민화 대중서사학회 2019 대중서사연구 Vol.25 No.1

This paper argues how the concept of melodrama can be articulated with the Affect Theory and Posthumanism in relation to animal or environment representation which have emerged as the new topics of the recent era. The argument will be made through the discussion of Agustin Zarzosa’s book, Refiguring Melodrama in Film and Television: Captitve Affects, Elastic Sufferings, Vicarious Objects. Using a genealogical approach, the book revisits the notion of mode, affect, suffering (hysteria), and excess which have been dealt with in the existing studies of melodrama. In chapter one, he broadens the concept of melodrama as a mode into the means of redistribution of suffering across the whole society in the mechanism of the duo of evil and virtue. It is the opposition of Brooks’s argument in which melodrama functions as the means of proving the distinction between evil and virtue. Chapter two focuses on the fact that melodrama is an elastic system of specification rather than a system of signification, with the perspective of Deleuzian metaphysics. Through the analysis of Home from the Hill (Vincente Minnelli, 1959), this chapter pays attention to an ‘affect’ generated by the encounters between the bodies and the Mise-en-Scène as a flow not of a meaning but of an affect. Chapter three argues that melodrama should reveal an unloved (woman’s) suffering, opposing the discussion on the role of melodrama as the recovery of moral order. Safe (Todd Haynes, 1995), dealing with female suffering caused by the industrial and social environment, elaborates on the arguments on melodrama in relation to female hysteria with ecocritical standpoints. The rest of the two chapters discusses the role of melodrama for the limitation and extension of the notion of the human through ‘animal’ and ‘posthuman’ melodrama. It argues that the concept of melodrama as ‘excess’ and ‘sacrifice’ blurs the boundary between human and inhuman. In summary, although the author Zarzosa partly agrees with Peter Brook’s notion of mode, affect and sufferings,he elaborates the concept of melodrama, by articulating philosophical arguments such as Deleuzianism, feminism, and posthumanism (Akira Lippit and Carry Wolf) with the melodrama. Thefore, Zarzosa challenges the concepts of melodrama led by Brooks, which had been canonical in the field. 본고는 어구스틴 잘조사(Agustin Zarosa)의 2013년 저작, <영화와 텔레비전 멜로드라마 재고하기: 사로잡힌 정동, 탄력적 고통, 대리적 대상>(Refiguring Melodrama in Film and Television: Captive Affects, Elastic Sufferings, Vicarious Objects)을 통해, 기존의 멜로드라마의 핵심 개념들로 다루어져 왔던 모드, 정동, 고통(히스테리아), 과잉에 대한 논의들을 계보학적으로 다시 논의하며, 동시대 새로운 화두로 떠오른, 정동이론과 환경, 동물등과 포스트 휴머니즘 담론이 어떻게 멜로드라마 개념에 접목될 수 있는 지 논한다. 1장에서는, 모드를, 선과 악이 한 쌍이 되는 매커니즘 안에서, 사회 전체를 가로지르는 고통의 시각성을 재분배하는 장치로서의 멜로드라마의 개념으로 넓히며, 선과 악의 구별을 증명하기 위한 수단으로써 고통을 드러내는 멜로드라마의 모드에 대한 브룩스의 논의를 반박한다. 2장은 들뢰즈식 형이상학의 관점으로부터 멜로드라마가 의미의 체계라기보다는 ‘특정화’(sepcification)의 탄력적 시스템임을 논한다. <언덕위의 집>(빈센트 미넬리)의 분석을 통해, 신체들간의 조우를 통해 생성된 정동과 –의미가 아닌-정동이 흐르는 장소로써의 미장센에 주목한다. 3장은 브룩스의 붕괴된 도덕적 질서를 회복시키는 멜로드라마의 역할에 대한 논의에 반대하며, 멜로드라마는 미해결로 남아 있는 (여성) 고통에 대한 인지 혹은 시각화를 위해 존재한다고 강조한다. <세이프>(토드 헤인즈)는 환경으로 인한 여성 고통을 다루면서 기존의 여성 히스테리와 멜로드라마라는 논의에 생태비평주의적 관점을 더한다. 나머지 두 챕터들은 동물과 포스트휴먼 멜로드라마를 논의함으로써, 인간의 명제를 제한하고 확장하는 데 있어서의 멜로드라마의 역할을 연구한다. 희생과 과잉이라는 멜로드라마의 명제가 어떻게 –인간중심적인-인간과 비인간의 경계를 흐리게 하는 지 분석한다. 잘조사는 피터 브룩스의 논의에서 도출된 모드, 정동, 고통의 개념들을 일부분 받아들이면서도, 각각 들뢰즈주의, 페미니즘, 포스트휴머니즘(캐리 울프, 아키라 리핏)의 논의들을 부가하며, 브룩스의 정전화된 멜로드라마의 개념에 도전하고 있다.

1990년대 후반기 이후 한국 남성 멜로영화 연구

이현경 한국여성문학학회 2006 여성문학연구 Vol.16 No.-

This paper aims to give light upon the aspect of Korean 'male film melodrama'. The main concept of male film melodrama is the love story that the hero drives narrative. Generally melodrama is accepted the genre being about women, for women. Until now most studies of melodrama have been focused on the visual representation of woman's image and ideological pressure. The social-cultural changes influence mass culture, so one of the most popular genre, melodrama is reflected these results. Nowadays new male features have being appeared in melodrama. They are men who fall in love and their love story develops plot. In 1997, 8 'man' appeared the front side of Korean film melodrama for the first time in Korean film melodrama history. Since the latter of 1990's, many of male film melodrama have been made and most of them hit at the box-office. We can categorize them three types. First, there is 'male maturity film melodrama'.Second, there is 'male pure heart film melodrama'. Last, there is 'male fantasy film melodrama'. Genre is not a certain fixed substance, but is an organic formation which repeatedly makes self-renovation. According to the times, male characters in melodrama have changed and male audience, too. Men who have averted their eyes from love story are interested in love story and acknowledge love is the most important value in their lives. 전통적으로 ‘여성적’ 장르로 인식되는 멜로영화에서 ‘남성’은 상대적으로 관. 이는 멜로영화의 내러티브를 이끄는 중심인물이 주로 여성일 뿐 아니라 관객층도 여성 편향적이었기 때문이다 . 그러나 장르는 사회문화적 변화를 반영하여 변모하는 유기적인 속성을 가지고 있다 . 1990년대 이후 한국 멜로영화는 장르적 쇄신을 이루게 되고 , 1997, 8년을 기점으로 남성이 주인공인 사랑 이야기가 등장하기 시작했다 . 영화를 ‘남성 멜로영화’라고 부르고 다시 몇 가지 하위 유형을 구분하여 내러티브의 구체적인 특징을 분석하고자 한다 . 남성 성장 멜로영화의 경우에는 연애, 남성 순정 멜로영화에서 남자 주인공은 자신이나 사랑하는 여자가 죽게 되는 상황에서도 변하지 않는 사랑을 지키려 최선을 다한다 . 남성 환상 멜로영화에서는 사랑을 위해 금기에 저항하는 남성상을 보여주는데 , 환상은 금기를 허물고 욕망을 성취하는데 필요한 플롯 상의 기능과 윤리적 보호막 역할을 동시에 한다 . 1990년대 후반기 이후 남성 멜로영화로 분류할 수 있는 일군의 영화들이 등장하여 현재까지 재생산되는 현상은 한국 멜로영화사에서 ‘남성’의 영역이 만들어졌다는 의미이다 . 또한 이는 사랑 이야기의 생산과 소비에 남성의 참여가 보다 자연스러워졌음을 의미한다. 남성 멜로영화의 일차적인 사회문화적 의미는 사랑을 삶의 중요한 가치로 인식하고 행동하는 새로운 유형의 남성상이 탄생되었다는 데서 찾을 수 있다.

포스트IMF 한국 남성멜로드라마의 장르분석

곽한주(Kwak, Han Ju) 동국대학교 영상미디어센터 2020 씨네포럼 Vol.0 No.37

1990년대 후반부터 2000년대 후반에 이르는 포스트IMF기 한국영화에는 남성 캐릭터가 주도하는 멜로드라마 영화들이 강력하게 부상했다. 〈해피엔드〉(1999)에서부터 〈봄날은 간다〉(2001), 〈너는 내 운명〉 (2005), 〈우아한 세계〉(2007)에 이르기까지 이들 영화는 기존 멜로드라마와는 구별되는 주인공 유형과 서사적 특징을 지니고 있기 때문에 ‘남성멜로드라마’라는 독자적인 하위장르로 묶을 수 있다. 남성멜로 영화는 실직자에서 조폭에 이르는 다양한 직업의 남성들이 등장하지만, 이들 주인공이 모두 위기에 처한 남성이라는 점에서 공통적이다. 주인공들은 남성으로서의 역할을 ‘제대로’ 수행하지 못했다는 이유로 아내나 연인으로부터 외면당한다. 또는 자신을 인정해주고 사랑해줄 여성이 부재하거나 곧 죽음을 앞두고 있다. 이런 곤경에서 남성 주인공은 가족 해체를 막기 위해 고군분투하거나 로맨스의 파탄에 혼란스러워한다. 심지어 주인공이 위기에 처한 가족을 살리려 조폭세계에 투신했다가 목숨까지 잃는 경우도 있다. 그럼에도 불구하고 선한 남성 주인공은 끝내 고통과 희생의 보상을 받지 못한다. 피터 브룩스가 멜로드라마의 특징으로 제시한 ‘도덕적 비의’가 작동하지 않는 것이다. 이렇듯 남성멜로는 한국영화사에서 전례 없이 가족이나 로맨스와 같은 친밀성 영역에 포커스를 들이대면서 보상받지 못하는 남성들의 고통과 희생을 서사화한다. 이 시기 남성멜로드라마는 남성 역할의 실패가 발생하는 영역, 즉 위기의 영역이 어디인가에 따라 세 부류로 세분할 수 있다. 가족 남성멜로에서는 가장이 가족 해체의 위기를 맞아 고통당하며, 로맨스 남성멜로의 남성 주인공은 행복의 원천인 로맨스가 좌초해 고민한다. 조폭멜로에서는 남성적 역할을 수행하기 위해 조폭이 된 주인공이 조폭의 반사회적 일탈성 때문에 위기에 처한다. 남성멜로에서 위기에 처한 남성이 절실하게 노력하지만, 그럼에도 불구하고 원하는 향유(화목한 가정, 로맨스)를 결국 얻지 못한다. 이처럼 포스트IMF 남성멜로는 행복과 사랑의 영역일 것으로 기대되는 친밀성 영역이 오히려 남성에게는 고통과 희생을 요구하는 영역이라는 서사를 당대의 현실을 배경으로 그려 보인다. 화목한 가정, 행복한 로맨스는 현실에서는 불가능한 판타지라고 속삭이는 것이다. 이런 비관적 비전은 근대성의 레짐에서 가부장적 남성권력이 갈수록 약화하고 남성에게도 정서적 친밀감을 요구하는 방향으로 구조적 변동이 진행돼온 것을 배경으로 한다. 이에 더해 1997년 IMF위기의 내습으로 한국 가장/남성들의 위기감이 획기적으로 증폭한 것이 포스트 IMF기 남성멜로의 부상을 추동했을 것으로 추정해 볼 수 있다. 포스트IMF 한국 남성멜로 영화들은 가식 없이 그들의 구체적 현실과 내면을 조명한다는 특징을 지닌다. 비록 남성의 관점에 치우쳐 있기는 하지만, 포스트IMF 남성멜로 장르는 우리 사회 남성들의 구체적인 상처와 현실적인 불안을 드러낸 심리사회적 텍스트이다. 또 사회역사적 위기를 젠더화 해서 응축적으로 표출했다는 점에서 젠더 정치학의 흥미로운 텍스트이기도 하다. In the post-IMF Korean cinema from the late 1990s to the late 2000s, melodrama films led by male characters emerged potently. From Happy End (Jung Ji-woo, 1999) to One Fine Spring Day (Hur Jin-ho, 2001), You Are My Sunshine (Park Jin-pyo, 2005), and The Show Must Go On (Han Jae-rim, 2007), these films have in common a unique type of protagonist and narrative characteristics that are distinct from traditional melodramas. Can be grouped into a subgenre, male melodrama. Male melodrama films feature men of various occupations, from unemployed to gangsters, but they are common in that these protagonists are all men in crisis. The protagonists are turned away from their wives or lovers for failing to fulfill their male roles ‘adequately.’ Or, there is no woman who will acknowledge and love them, or is about to die. In such a predicament, the male protagonist struggles to prevent the family breakup or is confused by the failure of romance. There are even cases where the protagonist enters gangster world to save his family in crisis and consequently loses his life. Nevertheless, the virtuous male protagonist is not rewarded for his suffering and sacrifice in the end. The “moral occult” proposed by Peter Brooks as a feature of the melodrama does not work. As such, the male melodrama narrates the pain and sacrifice of uncompensated men by focusing on the spaces of intimacy such as family and romance, unprecedented in Korean film history. Male melodramas during this period can be subdivided into three categories depending on where the male role fails, that is, the area of crisis. In the family male melodrama, the father suffers from the crisis of the dissolution of the family, and the male protagonist of the romance male melodrama suffers from a breakup of romance. In the gangster melodrama, the protagonist, who has become a gangster in order to play the masculine role, is in crisis because of his gangster identity as the antisocial deviancy. The protagonist in crisis in the male melodrama desperately tries, but nevertheless, he does not get the desired enjoyment (harmonious family, happy romance) in the end. In this way, post-IMF male melodramas unfold the narrative that the realm of intimacy, which is expected to be the locus of happiness and love, is the space that demands suffering and sacrifice for men, against the backdrop of the contemporary reality. A harmonious family and a happy romance are whispered as an impossible fantasy in reality. This pessimistic vision is based on the fact that in the regime of modernity, patriarchal male power has gradually weakened and structural changes have progressed in the direction of demanding emotional intimacy from men. In addition, the overwhelming invasion of the IMF crisis in 1997 drastically amplified the sense of crisis among Korean males, which it can be presumed have promoted the surge of the post-IMF male melodrama. Post-IMF Korean male melodrama films are characterized by illuminating their concrete reality and inner self without pretense. Although it is biased toward the male point of view, the post-IMF male melodrama genre is a psychosocial text that reveals the specific scars and real anxieties of men in our society. It is also an interesting text in gender politics in that it densely expressed the socio-historical crisis through gendered representation.

알모도바르의 멜로드라마 영화 연구

전기순 ( Ki Sun Chun ) 韓國世界文學比較學會 2011 世界文學比較硏究 Vol.37 No.-

This study is to survey the specific structure and characters of melodrama in the filmography of the spanish director Pedro Almodovar. This kind of filmic genre and its consequent strategies have been constructed in Hollywood melodrama, especially by the classic works as Douglas Sirk`s 〈Imitation of Life〉. The eclectic style of Almodovar, derived from the conflictive combination between Hollywood style and European auteur style, contribute to the creativity of Almodovar melodrama in its narrative form and emotional nivel. Despite the genre variety of spanish director, many scholars have shared the opinion that melodrama is very dominant in his all films: the melodrama films or the melodramatic films. In this article we select his 5 melodramas to analyze: 〈High Hill〉, 〈All about My Mother〉 categorized in "motherhood melodrama and simulation; 〈Law of Desire〉, 〈The Bad Education〉 in queer melodrama and bricolage; 〈Talk to Her〉 as the self-reflexive melodrama. We are dedicated to analyze each filmic asthetic strategy and investigate on how these strategies work to make Almodovar melodramas specially stylistic types foregrounded in the Hollywood classic melodramas. Through these analyses, we have discovered that the concepts like simulation(included perfomance), bricolage and auto-reflexivity produced the kind of metamorphosis of melodrama`s concepts of Almodovar.

〈겨울연가〉(2003)를 통해 본 멜로드라마의 장르론

이인표 가천대학교 아시아문화연구소 2023 아시아문화연구 Vol.62 No.-

이 논문은 우선 〈겨울연가〉론을 표방한다. 하지만 이 논문은 〈겨울연가〉의 양식적 특성을 멜로드라마론에 기반을 두고 심층적으로 분석할 것이다. 이를 통해 고전 멜로드라마론을 재탐색하고 한국 멜로드라마에 관한 장르론적 감각을 심화할 것이다. “〈겨울연가〉를 통해 본 멜로드라마의 장르론”이라는 논문 제목의 함축적인 의미는 여기에 있다. 〈겨울연가〉는 콘텐츠적 자질로나 텍스트적 자질로나 아시아 전역에 가장 널리 알려진 한국 멜로드라마로 볼 수 있다. 하지만 콘텐츠 연구나 텍스트 연구의 양면에서 멜로드라마론을 기반으로는 이 드라마가 거의 분석되지 못했다. 이 논문은 무고한 희생자의 파토스, 과잉된 상징구조, 도덕적 비의를 내포하는 멜로드라마의 특성들을 이 한국 멜로드라마에 적용할 것이다. 이를 통해 결국 멜로드라마의 장르론을 갱신하는 차원에서 한국의 멜로드라마론와 고전적인 멜로드라마론이 상보적으로 고양되게 할 것이다. 이 논문이 〈겨울연가〉를 통해 특별히 멜로드라마를 통찰하는 점은 다음 세 가지로 나눌 수 있다. 첫째는 무고한 희생자 서사의 플롯이 멜로드라마적인 미덕의 테마를 구현하는 방식을 탐색하는 점이다. 둘째는 이 미덕의 테마가 스토리의 상징구조를 통해 한층 부각되는 방식을 탐색하는 점이다. 셋째는 이런 멜로드라마 테마의 보편적인, 도덕적 비의가 내포하는 멜로드라마적 세계관을 통찰해보는 것이다. 이 과정을 통해 멜로드라마 양식 연구가 양식이 재현하는 세계 자체에 관한 장르론적 사유로 확장될 수 있음을 통찰할 수 있을 것이다. This thesis can be regarded as the theory on Winter Sonata. However, this thesis will analyze in depth the stylistic characteristics of Winter Sonata based on the theory of melodrama. Through this, we will re-examine the classical theory on melodrama and deepen the sense of genre theory on Korean melodrama. The implicit meaning of the thesis title “A Genre Theory on the Melodrama of Winter Sonata” lies here. Winter Sonata can be seen as the most widely known Korean melodrama all over Asia. However, this drama was rarely analyzed based on melodrama theory in both aspects of cultural contents research and literary text research. This paper will apply the general characteristics of melodramas, which include the pathos of innocent victims, excessive symbolic structure, and moral mysteries, to this Korean melodrama. Through this, Korean melodrama theory and classical melodrama theory will be complementarily elevated especially in terms of renewing the genre theory of melodrama. This thesis will give you the following three insights into melodrama by analyzing Winter Sonata. The first is to explore the way the plot of the narrative of the innocent victim embodies the theme of melodramatic virtue. The second is to explore how this theme of virtue is further highlighted through the symbolic structure of the story. The third is to contemplate the melodramatic world view implied by the universal moral mystery of this melodramatic theme. Through this, it will be possible to gain insight into the fact that the study on melodramatic styles can be extended to the genre theory on the world itself embodied by the style.

훼손된 민족과 공고한 가부장: 전후 한국과 스페인 가족 멜로드라마의 사회적 무의식 - <밭고랑>(Surcos, 1950)과 <마부>(1961)를 중심으로 -

임호준 문학과영상학회 2016 문학과영상 Vol.17 No.3

Damaged Nation and Solid Patriarch: Social Unconscious in Korean and Spanish Family Melodrama of Postwar Period: Surcos (1951) and Horseman (1960) Korea and Spain share common historical trajectory in terms of suffering from civil war and rapid industrialization under the dictatorship. Immediately after civil war both Korean and Spanish societies were going through traumatic memories caused by fratricidal atrocities. This study investigates collective unconscious of two nations represented in postwar family melodrama, drawing on the theoretical framework of ‘family romance’ of Sigmund Freud and neo-Marxist perspective of melodrama. In the family melodrama of two countries, feudal patriarchs are irresistibly weakened because they are incompetent in adapting in industrialized society. However, they manage to succeed in recuperating their privileged positions and saving their families from danger, only leaving the patriarchal order unchanged. This happy ending implies that the collective unconscious of the people swept by fear and anxiety in postwar societies undoubtedly longs for peace and security. Thus, the prototype plot of postwar family melodrama with happy ending generates stylistic ‘excess’ and narrative disjuncture in which ideological manipulation is revealed. The most conspicuous and dangerous tendency of these family melodrama is the mythification of absent or old fashioned patriarchs. The suffering rendered by their failure and incompetency is often idealized as sacred or as heroic in the name of struggle for good against evil. Furthermore, their sacrifices produce pathos for spectators since they strive to rescue other family members from their frail morality. This mechanism easily extends to national level, leading to worship for national patriarch, that is, a dictator in a totalitarian society. In fact, the collective unconscious underlying in family melodramas can be a plausible explanation for the appearance of strong dictator in postwar Korea and Spain. In conclusion, postwar family melodrama in both countries becomes a text that uncovers hysterical ‘excess’ caused by the collision between reality and ideology under the surface of the peaceful resolution of family problems.

장르와 성별, 문화와 관념론 -미국의 일본 점령기간과 일본 멜로드라마-

쟈크린모리소 ( Jacline Moriceau ) 한국영상미디어협회 2016 예술과 미디어 Vol.15 No.1

This chapter attempts to understand what the Japanese melodrama is about and what sort of influence the American Occupation (1945-52) may have had on the genre, it may have been a stimulating challenge but this suggestion calls for some preliminary remarks. First, Japan was not immune to Western influence, even before the Meiji era (1868). From the end of the nineteenth century, the Japanese curiosity about Western technology as well as about culture, literature, theatre, cinema, increased. Intellectuals, artists, actors travelled through Europe, Russia, the United States, sometimes staying for a long time. Upon their return, they began to familiarize their society with new ways of thinking and new ways of life. This influence however stopped quite completely when the Japanese military government restrained more and more the rights of access to freedom in travelling, writing, even thinking. On the other hand, since the European and US influence of the American Occupation proper, in so far as the European and American influence was already apparent in pre-war Japanese melodrama, the actual influence on post-war Japanese melodrama, the exact nature of the influence of Us occupation Forces on post-war Japanese melodrama may be elusive. In fact, it can be said that Japanese melodrama had existed since the beginning of the film industry. However, as the word ‘melodrama’ did not exist in any Asian language at the time, but was taken from the Western tradition, it is necessary to begin by examining the accepted meaning of the term today. In order not to work with an inadequate concept, I will trace its roots and characteristics as a cinematic genre, and how the concept can be applied to Japanese cinema. Was it an equivalent of the main traits of the Western melodrama in general? Or did it present some peculiar features connected to another civilization, different historical, religious backgrounds, social organization, relations between genders i.e. culture and ideology? On the other hand, it might prove interesting to examine the reasons why the American forces were so much interested in melodrama. What cultural and ideological purposes were at stake? What did they propose? How did the Japanese directors deal with American orders and censorship? Some melodramas from the post-war years - mostly directed by Kenji Mizoguchi - will illustrate tensions characteristic of the genre, as well as the complexity of the shock between such different cultures and ideologies. This chapter will try to ascertain whether the American Occupation (1945-1952) changed the Japanese melodrama or altered some of its traits, the degree to which these films became representative of Japanese immediate and later post-war society?

Genre and Gender, Culture and Ideology - The American Occupation of Japan and Japanese Mélodrame -

쟈크린 모리소 예술과미디어학회 2016 예술과 미디어 Vol.15 No.1

This chapter attempts to understand what the Japanese melodrama is about and what sort of influence the American Occupation (1945-52) may have had on the genre, it may have been a stimulating challenge but this suggestion calls for some preliminary remarks. First, Japan was not immune to Western influence, even before the Meiji era (1868). From the end of the nineteenth century, the Japanese curiosity about Western technology as well as about culture, literature, theatre, cinema, increased. Intellectuals, artists, actors travelled through Europe, Russia, the United States, sometimes staying for a long time. Upon their return, they began to familiarize their society with new ways of thinking and new ways of life. This influence however stopped quite completely when the Japanese military government restrained more and more the rights of access to freedom in travelling, writing, even thinking. On the other hand, since the European and US influence of the American Occupation proper, in so far as the European and American influence was already apparent in pre-war Japanese melodrama, the actual influence on post-war Japanese melodrama, the exact nature of the influence of Us occupation Forces on post-war Japanese melodrama may be elusive. In fact, it can be said that Japanese melodrama had existed since the beginning of the film industry. However, as the word ‘melodrama’ did not exist in any Asian language at the time, but was taken from the Western tradition, it is necessary to begin by examining the accepted meaning of the term today. In order not to work with an inadequate concept, I will trace its roots and characteristics as a cinematic genre, and how the concept can be applied to Japanese cinema. Was it an equivalent of the main traits of the Western melodrama in general? Or did it present some peculiar features connected to another civilization, different historical, religious backgrounds, social organization, relations between genders i.e. culture and ideology? On the other hand, it might prove interesting to examine the reasons why the American forces were so much interested in melodrama. What cultural and ideological purposes were at stake? What did they propose? How did the Japanese directors deal with American orders and censorship? Some melodramas from the post-war years – mostly directed by Kenji Mizoguchi – will illustrate tensions characteristic of the genre, as well as the complexity of the shock between such different cultures and ideologies. This chapter will try to ascertain whether the American Occupation (1945-1952) changed the Japanese melodrama or altered some of its traits, the degree to which these films became representative of Japanese immediate and later post-war society?

향토 멜로드라마와 여성의 위치성: 박경리의 <파시(波市)>를 중심으로

김양선 한국여성문학학회 2017 여성문학연구 Vol.41 No.-

This paper defines Park, Kyung-ri's "Pasi" as a "local melodrama", and examines the connection between melodrama, modernity and gender, specially the meaning of mobility and locality of women who entered the field of public society due to Korean War. The premise is that plotting and the narrative intention of local melodrama which is related to the barbarianism, nativism are closely related to the appropriation of femininity. This paper focuses on a symbolic representation of women, ‘su-ok’ as the 'primitive existence', ‘noble savage’ of Ray Chow. Su-ok’s mobility from the north->Busan->Tongyeong-> Gaesum->Tongyeong and her positionality as the periphery-local area-suffering woman questions the war violence, capital, and modernity. On the other hand, the positionality of ‘Hak-ja’ is related to moving from local Tongyeong to metropolitan city Busan. The mobility of Hak-ja caused by the changes in the social position of femininity during Korean War. She performs the femininity and sexuality positively in a different hierarchical position from bourgeois women such as ‘Jook-hee’, ‘Myeong Hwa’, and shows the positionality of women who live in the war and after the war. ‘Myeong-hwa’ and ‘Eung-ju’ are the characters that show the characteristics of the local melodrama. Tongyoung is a place where the local melodrama is held and their love lasts and ends. While the local melodrama of ‘Hak-ja’, ‘Hak-su’ and ‘Su-ok’ overcome the vigor of the market and war, and they reach the stage of maturity, the melodrama of ‘Myeong-hwa’ and ‘Eung-ju’ is obsessed with the fate of bloodline and incest, and idealizes the innocence and romanticism. Even though these two local melodramas have the different characteristics, it can be seen as the similar narratives which protest the ideology of Korean War and the modernity of the snobs. 이 논문은 박경리의 <파시>를 ‘향토 멜로드라마’로 정의하고, 멜로드라마-근대성-젠더 간의 관련성, 그리고 한국전쟁으로 인해 공적 사회의 장에 진출한 여성들의 이동성과 위치성이 지닌 의미를 규명하고자 한다. 전제가 되는 것은 야만, 미개, 토착성과 관련이 있는 향토 멜로드라마의 이야기짜기(plotting), 서사적 의도가 여성(성)의 전유와 밀접한 관련이 있다는 것이다. 이 논문은 레이 초우의 ‘원시적 존재’, ‘고귀한 야만인’으로서의 여성을 <파시>에서 상징적으로 보여주는 존재인 ‘수옥’에 주목하였다. 이북->부산->통영->개섬->통영에 이르는 수옥의 이동, 주변부-향토-수난 받는 여성이라는 위치성은 전쟁과 자본을 중심으로 작동하는 근대의 동력에 의문을 표한다. 한편, 학자의 위치성은 통영-향토에서 부산-대도시로 이동하는 것과 관련이 있다. 학자의 이동은 한국전쟁으로 인해 여성성의 사회적 지형이 변화한 데 기인한다. 그녀는 죽희나 명화같은 부르주아 여성과는 다른 계층적 위치에서 여성성과 섹슈얼리티를 적극적으로 연행하고, 욕망을 드러냄으로써 전쟁과 그 이후를 살아가는 여성의 위치성을 보여준다. 향토 멜로드라마의 특성을 전형적으로 보여주는 인물은 명화와 응주이다. 통영은 이들의 사랑이 지속되고 끝나는, 향토 멜로드라마가 펼쳐지는 장소이다. 학수와 학자, 수옥의 향토-멜로드라마가 시장과 전시 상태의 엄혹함을 이겨내고 이들이 모종의 성숙을 이루는 데 도달한 반면, 명화와 응주의 향토 멜로드라마는 혈통과 근친상간이라는 운명에 강박된, 현실성이 소거된 순진성, 낭만성을 이상화 한다. 이 성격이 다른 두 향토 멜로드라마는 한국전쟁이라는 이데올로기와 속물들의 근대에 항의를 표하는 청춘들의 서사라는 점에서 동전의 양면 같은 서사로 볼 수 있다.