코미디 영화의 세 가지 존재 방식 = 50년대 코미디 영화를 중심으로

다국어 초록 (Multilingual Abstract)

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.

목차 (Table of Contents)

• 1. 머리말
• 2. 풍속의 기록
• 3. 대화의 개방성
• 4. 세태풍자 코미디와 개성적 인물
• 5. 맺음말
• 참고 문헌
• Abstract

참고문헌 (Reference)

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