조폭코미디영화의 폭력에서 드러나는 희생제의적 전략

서곡숙(Seo Kok Sook) 한국영화학회 2006 영화연구 Vol.0 No.28

The Jo-Pok comedy in the early 2000's is irony because audience prefers and critics don't. Critics say audience prefers it because the Jo-Pok comedy is enjoyable, hilarious and an exact match of social atmosphere. In spite of their explanation, we don't know why audience likes it. Centering on 〈Married to the Mafia〉 and 〈Kick the Moon〉, I want to explain that audience prefers it because of the strategy of social ritual by exposing violence. The plot is composed of two confrontations. The 1st confrontation is the trouble between a normal person(=subject) and a Jo-Pok(=rival) about a woman(=object). The former imitates the latter and becomes a double of the latter, then the crisis of violence occurs because of elimination of the difference by the double. The Jo-Pok becomes a sacrifice for an outlet for violence. But the Jo-Pok(=the 1st sacrifice) resists and the community want to make a Jo-Pok's woman the 2nd sacrifice and the witch-hunt is started. The normal person, the Jo-Pok and the woman resist this witch-hunting and the community agrees that another had Jo-Pok must be the 3rd sacrifice. The social crisis for IMF needs the sacrificium as an exit of social violence. The Jo-Pok comedy is the description of tension and reconciliation between a society that wants to make the Jo-Pok a sacrifice and the Jo-Pok who is against their conspiracy.

초중등 영화교육 연구 한국 영화교육의 진화 -한국 영화교육의 문제점 및 개선방안을 중심으로-

서곡숙 ( Kok Sook Seo ) 한국영화교육학회 2010 영화교육연구 Vol.12 No.-

Aims of film education are expressing images, understanding the procedure of film production, images reading and so on. The situation of film production has been changed rapidly in the digital age-participation of men and women of all ages, from a film to digital, from a director-centered to audience-centered, and so on. So film educators should be a guide of an active interaction in the communication of knowledge, and they should bear in mind that cultural and art education policy must aim to make people enjoy culture and art. In the current global state of cultural and art education, the United States emphasizes democracy and multi-culturalism that men and women of all ages can enjoy and multiethnic group and culture can be harmonized. England provides its people with the highest level art, creative experience and the opportunity of lifelong education. A basic direction of Korean cultural and art policy stresses creation, acceptability, multi-culturalism and learning- orientation. It can promote active learning motivation for people to enjoy rather than for experts. The driving assignments in cultural and art education are social cognition, public education, lifelong education, the expanding of the field, specialization, participation of the alienated class, developing environment, and so on. Visions of Ministry of Culture, Sports and Tourism are improving the quality of individual life and reinforcing cultural capability of society. Its driving assignments are increasing the chance of participation, stability of school culture and art education, cultivating experts, expanding knowledge and information, securing national status, and so on. Problems of Korean film education are unpreparedness of film education theory, overlooking discrimination between film education and image media education, uniform film education, dealing with violent and commercial films, completing the teaching profession and speciality of film lecturers, treating film lecturers, insufficient connection between film education and school film curriculum, short supply of a manpower in culture and art education of local institutions. Schemes to improve school education are expanding its field from image media education to culture and art education, differentiation between education for art (for specialists) and education through art(for the public), participating and experiencing film production, developing education program for postmodernism generation, consumer-centered education, balanced film education with critical humanities, increasing opportunity of education by opening various programs, improving quality of lecture and offering information through evaluations, converting the way from Top-down to Bottom-up, attaining a higher level by giving better treatment to film lecturers, and so on. There are increasing film making participants in the age of image such as teenagers distributing videos to a large audience through internet. The culture and art education policy should try to expand and to support the opportunity of enjoyment through local resources and constant efforts. The support projects for film lecturers should be managed by system stability, quality management, increasing support, management for creative manpower and managing both art education and culture education.

한국 영화검열과 코미디영화

서곡숙(Seo Kok Sook) 한국영화학회 2008 영화연구 Vol.0 No.36

This study starts from curiosity to know why the comedy film exceptionally hadn't been inspected in strict film censorship in the late 1960's. The preceding studies explained the history of Korean film censorship and insisted on film rating system, but there was few things to learn about the movie text. And this study is to analyze the influence of film censorship on the film comedy in the late 1960's. First, I want to consider the relation between the content of the film censorship and the narrative of the film comedy. Park Jeong-Hee's Administration reinforced anti-Communism ideology in the hostility between South Korea and North Korea, and insisted anti-decadence drive and economy in consumption for modernization and economic development. This policies influenced on the narratives of the film comedy. Park Jeong-Hee's Administration claimed a social organism and unification of idea, and wanted to control public thought by both regulations of anti-government films and encouragement of national policy films. Because of this influence of censorship, there are incongruity of a content and a form, restriction on expression, and an escape from reality in film comedy. Secondly, I want to consider political, economical censorship. In the political censorship, Park Jeong-Hee's Administration strictly controled the social influence of film by systematic film law to reinforce its power. And the economical censorship, Park Jeong-Hee's Administration used both systematic exclusion mechanism-double surveillance system, a stop of production/exhibition of film-and intentional upbringing policy-a share of an income right, promotion of excellent movie-. Then filmmakers controled film comedy to get commercial (financial) advantage-both withdrawing cost of film production and box-office profits-. Therefore formally the film comedy in the late 1960's wasn't strictly controled by the government, but informally was very influenced by the political, economical censorship in its narrative. As a result this pre-censorship had powerful influence on film comedy more than post-censorship.

거짓말/방문/가출이라는 북한영화의 내러티브 반복과 연기/침입/일탈이라는 북한여성의 자아정체성 재현

서곡숙(Seo Kok Sook) 한국영화학회 2007 영화연구 Vol.0 No.33

This research deals with the presentation of self, spoiled identity and deviation of woman in North Korean film. And centering the concept 'acting self of Goffman, I want to study conflicts, acting and abscondence of women in My Home's Trouble series. Narratives of these films have something in common with conflict-lie-visit-exposure-reprimand-abscondence-reconciliation functions. This films show private conflicts of mother-in-law/daughter-in-low and husband/wife by patriarchism, and public conflicts of a senior official/a follower and man/woman. These women's conflicts reflect confusion and oppression by poverty and change in North Korean society. Because women can't express their desires and social system is stubborn, women become to act. This acting means concealment and protection by difference of virtual social identity and actual social identity. And woman acts because the quantity of their 'emotion work' increases by patriarchism, charging culture and double burden. The senior official or the esteemed family of their husbands violate their private region, so their acting get exposed by them. Going beyond the bound of public/private region, front/back region and on the stage/a backstage, women get stigma and become perplexed. In the conflicts of individuals and groups, the women want to get the private and back region because of their distrust and observation about them. When their acting get exposed, they go away from their home. In North Korean film, the active and positive women represent the negative characters in the point of expressing their desires. And active women desire to deviate from their groups because of emotion work and stigma by patriarchism and collectivism. Superficially North Korea supports their activities, but internally keeps up patriarchism, so the women want to escape from dilemma of the private desires and the public requests.

사이버소설 각색영화의 스토리텔링과 문화콘텐츠

서곡숙(Seo Kok Sook) 한국영화학회 2008 영화연구 Vol.0 No.37

Because of the popularity of many cyber novels, many books, dramas, and films have been made of them. They have succeeded in a box-office record. My research want to study the aspects of storytelling in adapted films of cyber novels in the early 2000's. First, the characters of the films show the desires of the N-generation to attain satisfaction and relaxation by Cinderella complex and Narcissism. But the films are transformation of Cinderella complex because ordinary heroines fall in with handsome heros but heroes are not princes and the rich but tough guy and a boss in a fight. This romances reveal desires of the young female -that they want to be admitted their own ordinary values and that they want to reflex their desires of seeking relaxation/freedom in stress and oppression. And heroes' Narcissism are self-exposure and self-satisfaction in situation of distrust and lack of communication, and heroes become to be changed from the subject-love(=the self-love) to the object-love because the heroines heal the hurt souls(=the heroes) and communicate with them. Second, the plots of the films reveal a sense of solidarity of the N-generation by episode-frameworks and emoticons. Features of cyber novels -the interaction, the nameless, the unlinearness and the imageness-are very rare for adopted films of cyber novels. These unlinear structure of cyber novels influence on digital thinking, a loose plot, episode-framework and parody of adopted films, but comic moods and multiple structures of cyber novels change into melodramatic moods and single liner structures. And emoticon and slang of the films show the new sense of solidarity of the N-generation-that is the multimedia-generation and the image-generation-in view of the oral language, the secret language, the acronym and the emotional sign. Third, the themes show the multiple-character and connection-culture, and the violence and the deviation of the characters reveal the N-generation's desires. The cyber-culture and connection-culture through the ID and the avatar have the multiple-subjects-the real 'I' and another 'I'-for the digitalization-identification, and they have the negation-thinking about the ruling ideology to intend to disorganize the totalization and the family-principle. And the heros' the violence and the deviation show the N-generation's desires for escaping from social oppression and confused identity. The storytelling of the films-that are adapted from cyber novels-shows the culture and the desire of the N-generation audience through the dissolution, the disorganization and the deviation. The characters, the plots and the themes of the films reflect cultural feature of N-generation in respect of new identity, confusion of identity, disorder and diversification.

영화 속 문제적 바보의 비순응주의, 전도된 삶과 쓴 웃음

서곡숙(Seo Kok Sook) 한국영화학회 2007 영화연구 Vol.0 No.32

Satire criticizes the actual and present, and suggest the ideal as an alternative plan, and it has double structures by irony that is a rhetorical device of satire. This research considers a tendency of satire and black comedy film in the late 1960's by irony of innocence in a foolish character. Centering on Married Couple of Dullard (Palpuni Bubu), Childish Son-in-law (Palpuni Sawi) and Childish Daughter-in-law (Palpuni Myeoneuli), I will consider meanings of character, plot and theme focusing on 'a fool'(palpuni) motive. First, concerning on the characters, the fool's duplication means masking of a person that can not adapt to society, a person whose values deviate from society, and a fool whose behaviour causes trouble. So the fool can not adapt to patriarchy and modernization, and his behavior patterns are maladjusted and masking. His maladjusted is ridicule and resistance to the society, his nonsense reveals his wisdom, and he is the fool in question that deviates from a standard-normality/abnormality-. Though the fool wears a double face by masking of a minority, he reveals the conflicts between majority-a group and a standard-and minority-an individual and a disire-. Secondly, concerning the plot, by recognition and ignorance strategy the fool reveals the upper classes as ridiculous with the eventual triumph of the lower classes. The fool shows existence methods of the people, and uses recognition and ignorance strategy by innocence and a scheme. Through the fool's ignorance strategy the upper classes have a hard time of it. Through the fool's recognition strategy the upper classes are ignorant, while the lower classes recognize, and so the lower classes make the upper classes ridiculous. The fool stories show the fool's victory by duplication-the foolish person/ the tricky person-. Thirdly, concerning themes, by the conflicts and solutions, the fool uncovers contradictions of patriarchy and modernization. In the conflict between the male and the female, through the husband's debauchery the comedies support patriarchy on the surface, they but criticize it on the inside. In the conflict between the rural and the city, the comedies criticize a person that can not adapt to modernization on the surface, but they criticize contradictions of modernization on the inside. In the conflicts of classes, conflicts between rural and city become conflicts between the lower classes and the upper classes, the comedies ridicule the lower classes on the surface, but they ridicule the supper classes on the inside. So the comedies reveal both side of criticism and complex theme. 'The fool' trilogy shows the tendency of satire and black comedy film in the late 1960's which it criticizes the contradictions of patriarchy and modernization. These satire comedies reveal complex aspects by double themes cause by irony. The comedies give rest and entertainment to the audience by the happy-ending of the foolish character, and they give pleasure to the audience because they criticize and exposure taboos by laughing.

1960년대 후반기 한국 코미디영화의 갈등구조에서 드러나는 전통희극의 미학적 요소 연구

서곡숙(Seo Kok Sook) 한국영화학회 2007 영화연구 Vol.0 No.34

I want consider some aesthetic elements of Korean traditional comedy in the structure of trouble in the late 1960s' comedy films. Centering on the classes of trouble in the main plot and gender trouble in the subsidiary plot, the research will consider some aesthetic elements of Korean traditional comedy in the structure of trouble in films. In classes of trouble, the active and smart lower class citizens defeat the hypocritical and silly upper class citizens using designs, stratagems and disguises. These troubles raise economic, classical and conscious issues. In gender troubles tough wives defeat soft husbands. This trouble raises issues that criticise the criticising patriarchism and reversed gender roles. The late 1960s' comedy films had some aesthetic elements of Korean traditional comedy in the structure of trouble. These films represent dark laughter and an optimistic viewpoint by the criticism of satires and generosity of humor.

북한영화에서 드러나는 의식/사유, 도덕/윤리, 슬픔/기쁨의 갈등

서곡숙(Seo Kok Sook) 한국영화학회 2006 영화연구 Vol.0 No.30

In north Korea films, north Korea society has a Christian value system, that shows troubles between moral and ethic. 〈Troubles in my Home〉 series brings up these troubles by a bribery culture and an accusation culture. 〈Troubles in my Home〉 series shows that on the one hand characters mistake a bribery culture for esprit's problem, and on the other hand in fact it is a result of interaction between esprit and corpus so it has caused by shortage of goods and fixed origin. 〈Troubles in my Home〉 series shows that on the one hand characters mistake an accusation culture for moral problem of good/evil, and on the other hand in fact it is related to ethical problem. 〈Troubles in my Home〉 series shows that on the one hand characters say "Let's solve troubles" but mistake its cause, and on the other hand in fact it is related to inner inconsistency and they have desire to solve that.

1960년대 후반기 한국 패러디영화의 스토리텔링 분석

서곡숙(Seo Kok Sook) 한국영화학회 2007 영화연구 Vol.0 No.31

Because parody is an effective means, a lot of critics have been concerned about parody but set various value on that. In the late 1960's Korean film, Selseli, You Didn't Know(Salali Molagi) and Outlaw on a Donkey(Dangnagwi Mubeopja) are the movies that contain ambiguous conception of repetition and difference, imitation and creation. Salsali; You Didn't Know follows the narrative formula of typical spy and action movies in 007 series. Detailed difference in two films and ironies of the former reveal imperialism of the latter and anti -Communist ideology. Because of quotation from popular movies and direct parody device, audience actively participate in the movie. Outlaw on a Donkey follows formulas of character in Outlaw trilogy and plot and theme in Shane. Detailed difference in two films and ironies of the former reveal unreality in Outlaw trilogy and plot and theme in Shane and serious real contradiction. Because of quotation from famous movies and direct parody device, there are active interactions between parody text and audience. Parody practice in the late 1960's shows sight of admiration and criticism about foreign films, and imitation, a critical situation and romaticism esthetics of Korean films.

액션코미디영화에서의 육체의 재현과 정체성의 변화

서곡숙(Seo Kok Sook) 한국영화학회 2006 영화연구 Vol.0 No.29

In the early 2000s, there was active discourse about body in Korean society. The theoretical backgrounds are rising of popular, sexuality and feminism. In this study, I will examine how male body is represented in the movies and what kind of meaning it has. The object is two action comedies--〈The Foul King〉 and 〈Volcano High〉. I will proceed to center this study on discourse about body. Spinoza insisted parallelism of body and mind. In history of art, representing body was changed from male body to female body, from ideal body to realistic body. Body symbolizes diversity, identity and mutual body, and movie which is centering on action and visuality shows this representing of body. Opponents are oppressive father and higher grader--man of rancor. Protagonist becomes obedient body by father's order and opponent's discipline. The ordering, economic, hard body of opponent which symbolizes modern corresponds to obedient, organic, soft body of protagonist which symbolizes post-modern. The protagonist departs from obedient body because of lacking of obedience or usefulness which are two goals of discipline. Complicating protagonist between virtual identity and actual identity is reproduced to disrupted acting body between soft body and hard body. While opponent--real father--, higher grader and absence of mother oppress protagonist, and supporter--symbolic father--, friends, and lover help protagonist's physical change. Opponent's sight issues in protagonist's immanencilization of supervision, but lover's sight issues in his outlet of potentiality. The protagonist finally reveals his potentiality facing with opponent's sacrifice ritual that intends to give his friend as a sacrifice. Protagonist's suit/uniform oppresses his potentiality but his wrestling wear/nude expresses his potentiality. Protagonist's warm hard body is opposite to opponent's cold hard body. In the two films representation of body reflects the crisis of Korean Society in the early 2000s. While the opponent's body represents national body that pretends to be interested in the benefit of community but actually is more interested in his benefit, and the protagonist's body represents the popular's desire that wants to resolve this crisis by the effort to change and the will to transform.