1950년대 범죄멜로드라마와 고백 장치 연구

오영숙(Oh Young Sook) 한국영화학회 2005 영화연구 Vol.0 No.25

This paper offers an analysis of 1950's crime melodrama films as it appears in the film texts of 〈The Confess(Ae-won-ui gobaeg)〉(1957) and 〈The College Woman's Confess(Eoneu yeodaesaeng-ui gobaeg)〉(1958). The motivation for this analysis is to try to define the form of the expression of the individual and the status of individuality as modern subjectivity constituted in the work of 1950's Korean Films. The ultimate objective is a finer understanding of the nature of the modernity of Korean film. What this paper tries to problematise through the theme of crime and criminal is the confession as a particular narrative apparatus which enabled the self-expression and the ways in which that apparatus has been expressed in films. We have tried to define the narrative of confession as it appears in the works of two films. Ultimately, by defining the formation and the mode of self expression and the socio-cultural contexts which enabled these forms of self expression as the main subject of film making, we tried to explain the formal characteristics and historical meaning of 1950's Korea's film The form and style of the 1950's Korean film seen in several crime melodramas leads from enlightenment thought to the discovery of the individual. What was important for 1950's films was not the attainment of some kind of communal connection and union through the elimination of individuality but the individual desire or emotion. Likewise 1950's crime melodrama can be distinguished from the films later than 1970's films. This is particularly apparent in the films which is based on the elimination of voices of the main characters. Through an analysis of the narrative and the style of 1950's crime melodrama in these two films, this papet discusses the internal motivations and necessities toward the discovery of modern subjectivity. This paper thus represents an attempt to theorise the essence of the forces which have driven Korea's modern film and, by doing so, to understand and explain mote precisely the representative force of that film which has for too long been entangled in definitions of the trends such as enlightenment, realism, and modernism.

코미디 영화의 세 가지 존재 방식

오영숙(Oh Young Sook) 한국영화학회 2005 영화연구 Vol.0 No.26

This study examines the comedy films from 1956 to 1961 and makes a comparative analysis of some modes of comedy films. The motivation for this comparative analysis is to try to define the meanings and the functions of comedy constituted in post-war modernization era. The ultimate objective is a finer understanding of the nature of the modernity of Korean cinema. The popularity of the comedy is unique in post-war era. Post-war comedy films are above all based on a reality that is limited both spatially and temporally. That complicity may focus on. It is possible to establish a specific generic form within the context of a cultural history. Through an analysis of form of postwar comedy film, it appears in three formal characteristics through which laugh is embodied.: 1) a form of comedy of manners 2) a form of conversation or controversy 3) a form fo satire. Like any other comedy, post-war Korean comedy is an inherently ambivalent one. Post-war comedy films are both subersive and conservative, both offensive and inoffensive, both serious and ridiculous. Comedy is a good example of the various ways in which this ambivalence does and does not become represented within a specific culture. Our aim in this paper is to examine comedy film as an 'in-between space'. We do not think of comedy film as maintaining or subverting certain culturally and nationally specific values, but rather take it as an imaginary space in relation to which people in post-war Korea try to make sense of their cultural ambivalence. In general, the function of post-war film may in expert maintenenance of the ambivalence of this culturally and historically distinctive symbiosis of conservatism and subversion.

1960년대 스릴러 영화의 양상과 현실인식

오영숙(Oh Young Sook) 한국영화학회 2007 영화연구 Vol.0 No.33

This article examines the aspects and significance of the thriller film in the 1960s, Korea. The thriller was perhaps popular and widespread movie genre at that time, and the most difficult to define. After the military coup on 16 May 1961, there was inevitably a profound sense of an ending and a being awakened from illusion as such development of democracy represented by April Revolution of 1960. Important to the concept of thriller is not just an excess of feelings but the question of which feelings are emphasized. The thriller works primarily to evoke such feelings as suspense, escape, despair. They gave 1960's spectators pleasure by making them uncomfortable. Anxiety, vulnerability, and fright are all part of the thriller. The overload and combination and ambivalence of feelings that the thriller creats, with a resultant lack of stability, produce a strong sensation of vulnerability. The thriller creates, in both hero and spectator, a strong sense of uncertainty and pessimism. This work is to try to define the forms of existence of psychopath and villian characterized in thriller films, and to understand the nature of inner device of monologue. Its purpose is deepen our understanding of genre film by placing them within the context of social culture and exploring the public's interests and cultural values expressed within the film. I want to ask whether the thriller films really did represent social interests and culture, and explore how the cinema could foster reflection on modernization through its performance of new forms of genre film. The cinema could foster reflection on modernization through its performance of inner forms of genre film. At the same time, these films also registered the dangers and ambivalence inherent in modernity through their dramatization of violence and fear.

특집논문 : 타락한 여성 / 고아 청년: 사회적 트라우마와 1960년대 멜로드라마

오영숙 ( Young Suk Oh ) 한양대학교 현대영화연구소 2015 현대영화연구 Vol.11 No.3

이 글의 일차적인 관심의 대상은 한국영화의 황금기라 일컬어지는 1960년대의 멜로드라마이다. 구체적으로는 고아 청년과 타락한 여성을 기둥 줄거리로 삼는 일군의 영화들에 주목한다. 당대의 잘 팔리는 문화상품이었던 멜로드라마의 감정표현과 재현 전략에 대한 검토를 통해 분단시대의 감정적인 리얼리티와 그것이 갖는 유의미한 시대적 맥락을 탐색하며, 전쟁과 분단이라는 사회적 트라우마에 대한 우회적 말걸기라는 점에서 멜로드라마의 문화적 기능을 논하고자 한다. 영화는 공공의 감수성을 형성하는 중요한 문화적 형식이다. 대중들의 호응을 얻던 멜로드라마에서 빈번하게 등장하는 수사학과 그 형성 조건을 묻는 일은 왜 멜로드라마가 1960년대의 문제적 범주로 자리할 수 있었는지를 이해하는 과정이자, 명료한 말이나 담론으로는 표현되기 어려운 복합적인 당대의 대중 감정과 사회적 정서를 포착해내는 작업의 일환이 될 수 있다. 이 시기 멜로드라마에서 핵심적인 것은 남성 주체의 무력감이다. 1960년대에 일기 시작한 ‘사나이 붐’과 궤를 함께 하여 남성성에 관한 관심을 표면화하면서도, 전체적인 서사는 가부장제 남성 신화의 성공적인 달성보다는 실패와 죽음으로 귀결되는 모양새를 취한다. 청년의 고아의식을 부각시키고, 불우한 가족사로 인한 남성의 열패감을 이상적인 남성으로의 성장을 가로막는 원인으로 설정하는 경우도 빈번하다. 민주주의의 상징이라 할 청춘세대의 좌절감은 1960년대의 억눌리고 폐쇄적인 분위기를 상기시킨다. 또한 건달이 된 고아청년에 대한 표상은, 비록 명백한 정치적 의도를 갖고 있지는 않았다 하더라도, 국가가 좌초시키고 억압했던 민주주의의 힘들이 봉합선 사이로 비어져 나와 대중과 교통하는 순간을 제공한다. 그런 한편으로 주목을 요하는 것은 타락한 여성에 대한 한국영화계의 관심이다. 미혼모나 접대부, 댄서, 마담 등의 화류계 여성과 같은 타락한 여성을 향한 한국영화계의 애정은 무척이나 큰 것이었다. 이들은 육체적으로는 정숙치 않지만, 그 타락의 배후에 개인의 욕망이 아니라 전쟁이 낳은 불우함이 설정됨으로써 시대적 상황에 따른 불가피한 선택이었음을 강조하는 경향이 있다. 타락한 여성의 대부분은 남성의 곁에서 그의 심리적 결핍이 극복되도록 도우며 새로운 사람으로 성장할 수 있도록 돕는, 마치 어머니나 손위 누이와 같은 역할을 수행한다. 그들은 수동적인 의존형과 같은 여성의 스테레오 타입에서 벗어나, 청년의 성장에 물적 정신적 토대를 제공하는 헌신적인 희생자로 자리한다. 또한 두 사람이 가족의 결핍에 따른 서로의 상처에 공감해가며 로맨스를 만들어가는 과정은, 전쟁과 분단으로 이산된 가족의 재결합을 향한 마음과 열망이 우회적으로 표현되는 계기가 된다. 여기서 인상적인 것은, 1950년대라는 전후의 시기와는 다르게 여성을 탈성적 존재로 바라보는 남성의 시선이다. 그녀에게 청년이 끌리는 것은 육체가 아니라 마음 때문으로, 그녀는 성적으로는 정숙하지 않음에도 불구하고 고결한 마음의 소유자이다. 이런 이유로 그녀는 시대의 무고한 희생자에서 더 나아가 당대인의 마음속에 존재하는 이상적 실체로 부각되기까지 한다. 희생자 여성의 슬픔이나 그런 여성을 바라보는 남성의 무력감과 자책, 우울 등이 복합된 심리상태가 1960년대의 스크린 위에 편재할 수 있었던 것은, 식민지 지배와 한국전쟁, 그리고 분단으로 이어지는, 한국사회가 겪어야 했던 폭력적 경험이 깊은 트라우마로 존재하는 탓이라 해야 할 것이다. 1960년대의 멜로드라마는 ‘타락한 여성’의 순결한 희생과 눈물을 재현함으로써, 국가 트라우마로 삶이 파괴당한 자들의 상실감이나 정서적 고통과 대면할 순간을 마련한다. 여기에는 조국 근대화로 인해 치유가 보류되고 유예되었던 전쟁 트라우마의 상처를 위무하고 싶어 했던 대중의 갈망이 반영되어 있다. 전쟁의 트라우마와 맨몸으로 대면하는 것은 치명적일 것이므로 그 상처와 정면으로 맞서는 것을 피할 다른 것들이 필요할 터인데, 멜로드라마가 그러한 역할을 수행하였다. 타락한 여성과 청년의 로맨스와 그 좌절의 드라마는, 시대적 정황으로 인해 침묵이 강요되었던 분단과 이산의 트라우마를 치유하기 위한 우회적 장치이자, 근대화를 통한 트라우마 가리기가 결코 성공적으로 이루어지지 않았음을 암시적으로 드러낸다. The primary interest of this article is Korean melodrama in the 1960s, the time called the golden age of Korean cinema. In particular, this article pays special attention to a group of films mainly narrating the relationship between a fallen woman and a young man. It aims to discuss the emotional reality of the division era and its significant context through analysing emotional expression and representational strategies in melodrama that was a high-selling cultural product at that time. Cinema is a significant cultural form to formulate public sensitivity. Questioning melodrama`s rhetoric and its condition of formation is not only a process of understanding the reason why melodrama came to fall in the position of critical category, but also a part of attempt to recognise public emotion and social sentiment of the time which may not be explicitly expressed in language and discourse. At this time, the core feature of melodrama was the impotent feeling of a male subject. Interests in masculinity, even called the ‘boom of masculinity’, were well disclosed, but the overall narrative tended to conclude in the failure and death of a male subject rather than the successful achievement of patriarchal myth. Moreover, A young man`s consciousness of the orphan was frequently magnified by setting the male subject`s inferiority complex resulting from his unfortunate family background as a main obstacle to becoming an ideal man. The frustration of the younger generation which is perhaps the symbol of democracy, resonated a suppressed and closed mood in the 1960s, but it also offered an interactive moment between the popular and democratic energies that had been stranded and repressed by the state. The point that requires further attention was the female subject, by the side of man, who helped the male subject overcome his psychological deficiency. This woman, often portrayed as a hostess or sex worker, fell into sexually decadent, but the reason behind the woman becoming fallen was described as the inevitable consequence of the time, not the result of individual desire. This ‘fallen woman’, appeared as a mother or sister figure, was not fitted into the cultural stereotype of woman as passively dependent, but performed a role of sacrificing herself so as to provide a material and spiritual base for the young man. Furthermore, their romance was portrayed in the process of curing their wounded spirits caused by the lack of A family because of the Korean War and the division of the Korean peninsula, and it provided an opportunity to express their mind and aspiration for the reunion of dispersed family members. What was impressive here was a male gaze that recognises woman as asexual subject which was different from the gaze in the 1950s. The young man became attracted to the woman because of her mind, not sexual body. Despite not being sexually virtuous, she still remained noble. This was the reason why she was portrayed as the innocent victim of the time, and even went further to stand out as ideal subject in the people`s mind. Defining his sister complex as psychological status combined with impotent feeling, guilty, sympathy, and empathy embedded in man`s gaze towards the victimised woman as asexual, the mythic schema of patriarchy was laid nearby. However, the activation of the sister complex became possible only through the violent experiences Korean society went through such as Japanese colonialism and the Korean War on the top of this basic framework. Melodrama in the 1960s represented the innocent sacrifices and tears of ‘the fallen woman’ who never achieved a happy ending, and this offered the moment of condolence for destroyed people by the violence of modernity such as colonialism, the Korean War, and the division. It would be fatal to directly face the trauma of war. In this sense, alternatives were required in order to avoid the trauma face-to-face. The journey of romance between a fallen woman and a young man and its failure implicitly revealed difficulties in the task of ‘making a modern man’ at the present time as well as the future, and perhaps operated as a periphrastic disposition to cure the historic traumas of the division and dispersion that were oppressed to be in silence because of social circumstances.

인삼 Saponin이 고온처리된 효모의 생육에 미치는 영향 - 열처리된 효모의 증식회복속도에 미치는 촉진효과 -

오영숙(Young-Sook Oh),김용수(Yong-Su Kim),이갑랑(Kap-Rang Lee) 한국식품영양과학회 1990 한국식품영양과학회지 Vol.19 No.5

인삼의 약효성분인 saponin이 내염성효모 Saccharomyces rouxii의 생육에 미치는 영향 및 고온 처리로 stress를 준 효모의 증식회복속도에 미치는 영향을 조사하여 본 결과 다음과 같은 결론을 얻을 수 있었다. 인삼saponin을 10^(-3)%되게 첨가했을 경우 무첨가구에 비해 S. rouxii의 생육을 55%정도로 가장 크게 촉진시킬 수 있었으며 또한 인삼saponin 첨가 경우 S. rouxii의 증식곡선은 무첨가구에 비해 그 log phase의 진입속도가 훨씬 빨랐으며, 가열처리된 S. rouxii의 증식회복속도도 인삼saponin 10^(-3)%첨가했을 경우 70% 정도나 빨랐다. 이로 미루어보아 인삼saponin은 heat shock받은 효모의 생육회복속도를 크게 증가시킬 수 있는 항stress효과가 있음을 확인 할 수 있었다. It was attempted in this experiment to observe the effect of ginseng saponin on the growth and recovery rate of Saccharomyces rouxii which was shocked by heat-stress. The growth of S. rouxii was found most active when the saponin concentration in the malt extract broth was 10^(-3)%. And, the growth rate of S. rouxii grown. on medium containing 10^(-3)% ginseng saponin was faster than that of the yeast grown on medium without saponin from the early log phase of the yeast. The growth recovery rate of S. rouxii which was heat-shocked by 80℃ - 30 minites, was accelerated in the medium added ginseng saponin.

아빠와 소녀

오영숙(OH Young Sook) 한국영화학회 2009 영화연구 Vol.0 No.42

This article examines the aspects and contexts of the Korean film in the 1970s. The motivation for this work is to try to define the meaning and forms of the typical representation constituted in Korean films, and to understand the function of Korean cinema in 1970s. 'Girl' and 'father' were perhaps popular and widespread representation at that time, and the most important symbol to take notice of. Important to the concept of 'father-girl' romance is not just feeling and emotion which people had in that era but the way of which cinema confronted to that society. Feelings such as anxiety, vulnerability, and fright that the film creat are major part of films in 1970s Korea. Control-vulnerability is a central dialectic of that film closely related to 'father-girl romance'. The representation of 'girl' means purity against snobbism, and difficulty of growth. The failure of relationship between girl and father works primarily to evoke such feelings as sense of guilt. They gave 1970's spectators pleasure by making them see and console themselves. Its purpose is deepen our understanding of 1970s Korean film by placing them within the context of social culture and exploring the public's interests and cultural values expressed within the film. I want to ask the way of which the films really did represent social interests and culture, and explore how the cinema could foster reflection on modernization through its performance of new narrative forms of film.

조선 후기 유학자들의 “천원술(天元術)”: 『산학원본(算學原本)』과 『산학본원(算學本源)』을 중심으로

오영숙 ( Oh Young Sook ) 한국과학사학회 2019 한국과학사학회지 Vol.41 No.3

It is well-known to historians of mathematics in East Asia that the tianyuan shu 天元術 was one of the distinct features of mathematics in the late Joseon period. Joseon Confucian scholars’ studies on the tianyuan shu have yet to be analyzed. From the late seventeenth to the early eighteenth century, there were two extant mathematical works by Korean Confucian scholars concerning the tianyuan shu: Sanhak wonbon 算學原本 by Bak Yul (朴繘, 1621-1668) and Sanhak bonwon 算學本源 by Hwang Yun-seok (黃胤錫, 1729-1791). By analyzing these two works, this paper examines the characteristics of their views and interpretations of the tianyuan shu. The Confucian authors extended the usage of the tianyuan shu into other mathematical fields to which it had never been applied before. They also preferred to use mathematical tables that showed the relationships between the numbers popping up during the performance of the method or the visual diagrams that explained the algorithms.

전쟁기억과 죄책감 : 냉전기 남한영화의 미국표상과 대중감정

오영숙(Young Suk Oh) 한국영화학회 2015 영화연구 Vol.0 No.63

기억은 모든 국가 정체성의 기초이며, 영화는 집단기억을 재현하는 가장 유력한 형식이다. 이 논문은 폭력적인 미국인에 대한 기억이 처음으로 등장하는 냉전 시기의 한국영화에 주목하려 한다. 미국인에 대한 부정적 재현이 엄격하게 금기시되었던 전시대와는 달리, 아시아 냉전의 구도에 변화가 일던 1970년대 초입에 들어서면서 한국전쟁 시기에 미군에게 겁탈당한 여성의 삶을 그리는 영화가 출현하게 된다. 따뜻한 원조자이자 난폭한 외부자였던 미국에 대해 한국인들은 어떤 감정과 태도를 공유하고 있었으며 그에 상응하는 내면의 드라마는 어떠한 것이었는가? 이 글은 인물들의 기억과 마음의 전개 양상에 초점을 맞추면서, 바람직한 기억과 은폐되어야 하는 기억이 하나의 텍스트 안에 빚어내는 긴장과 협상의 면모를 포착하는 동시에 한국전쟁의 기억을 대하는 당대의 문제적인 감정으로서 ‘죄책감’에 주목하려한다. No national identity exists without memory as its core meaning. This paper examine the text in which the memory of violent American appears for the first time on the screen during the Cold War. South Korean films hardly ever showed negative American characters until 1960s, making this film a rare exception as it portrays the life of a woman who is raped by an American soldier during the Korean War. What kind of emotions and attitude did the South Koreans share among themselves towards the Americans who were both a warm aid provider and a violent other? What kind of internal drama may we imagine that corresponds to such an experience with the Americans? This paper focuses on the memory and the development of one’s inner mind in the film text. This study particularly aims to capture the tension created between the desirable memory and the undesirable memory that should be kept silent and secret within the given textual framework.

탈북의 영화적 표상과 공간 상상

오영숙(Oh, Young Suk) 한국영화학회 2012 영화연구 Vol.0 No.51

One of the most outstanding phenomena in the Korean film industry lately is that there has been n increasing interest in the experience of the North Korean defectors. The reproduction of the North Korean defectors’ experience has been captured in diverse formats such as in Korean blockbuster movies, independent movies and movies directed by Korean-Chinese directors. This paper focus on presence of North Korean defectors who are slowly appearing in cultural areas while containing a comprehensive and diverse meaning of themselves and the phenomenon called defecting from North Korea. I first examine how this generation perceives the North Korean defectors, how films regard those people or their status with what kind of understanding and in what cultural inspiration or context or meaning those North Korean defectors are being symbolized within films. By doing so, I draw some cultural implications of the existence of the North Korean defectors or the phenomenon of defecting from North Korea within the cultural landscape of this generation. Furthermore, I examine the imaginary space and geological perception provided by the symbol of defecting from North Korea. In doing so, I am questioning the socio-cultural context depicted by the imaginary space of Asia.

증언의 맥락과 의미화

오영숙(Oh, Young-Suk) 동북아시아문화학회 2017 동북아 문화연구 Vol.1 No.50

This paper contextualized the different texture and meaning revealed in the midst of representation of comfort women through the comparative analysis of documentary films on ‘comfort women’ which were produced by Korea, Taiwan and Japan. The framing methods of comfort women survivors is overlapped, or differentiated from each other according to the awareness within society and the nation’s identity, and the government’s role. This paper had a discussion about one’s eyes and emotion involved in sharing and difference, and East Asian contexts of politics and ethics. The Korean film director Byun’s films are discriminative in that his films realize comfort women’s testimony as the process of growth into a social agent making their own voice other than comfort women victims’ being the object of compassion. The testimony of the former comfort women victims in the films becomes a performative stage in which they raise up their own distress into the expression of social wounds. In addition, there appears an excessive subjectivation phenomenon in which comfort women survivors are self-conscious. This reflects a desperate situation where they have no choice but to be an activist who performs a new history writing herself under the circumstances where the government fails to properly play its corresponding role in comparison with the people’s strong will for nationalism. In contrast, Japanese documentary puts more emphasis on interviews including detailed stories of victims instead of providing the historical information related to comfort women system. Main focus is striving to try discover individual human’s portrait hidden behind a group. Comparing to Byun’s documentary, the comfort women survivors seem to be relatively free from the camera. In addition, activists’ voices are minimized. Such a representation method has a strategic meaning of breaking through the Japanese government’s attitude of not taking into account the individual victims at all but putting nation-to-nation relations ahead of everything in handling the issue of compensation for comfort women. Although the historical trajectory of Taiwan was similar to that of Korea, but Taiwanese documentary film shows the difference in that emotional aspects of victimized women such as distress and grief are highlighted. Taiwanese film shows the tendency to approach comfort women’s suffering as the issue of a wounded citizen due to warfare other than the issue of nationality. In addition, they tend to give a lot more weight to understanding and consolation of an individual’s pain rather than putting emphasis on collective power for change. The emotion of sadness, which dominates film, belongs to psychological reality of Taiwanese who have been under the long political suppression, together with relatively weak nationalism, complex sentiment toward Japan, and unclear state identity.