영상서사에 재현된 황진이 이야기의 두 가지 방식 —드라마 <황진이>와 영화 <황진이>의 비교를 중심으로 = The Comparative Study on the Narrative of the Drama Hwang Jin-yi and the Movie Hwang Jin-yi

다국어 초록 (Multilingual Abstract)

This study analyzes the differences in the narrative of the drama Hwang Jin-yi and the movie Hwang Jin-yi. Both works describe the same figure called Hwang Jin-yi, however, there are differences in adapting the original story. The drama adopted the traditional Hwang Jin-yi story and depicted her as an independent performer. Although the movie tried to reproduce the modernized version of novel to deliver the novelist’s thematic focus.
The success of the adaptation of Hwang Jin-yi story depend on the way of interpreting the charms of a gisaeng in addition to storytelling. The drama succeeds in creating new Hwang Jin-yi by presenting her as an independent woman wanted by the audience and incorporating sexuality into her life as a performer and gisaeng. Meanwhile, the movie attempts to create Hwang Jin-yi different from the conventional image and accordingly shows the audience Hwang Jin-yi who devotes herself to her love instead of sensual Hwang Jin-yi. The ambiguous character, however, fails to satisfy both the audience that expected to see her conventional image and the audience that anticipated a new interpretation of her.
To continue to have a life force of Hwang Jin-yi in video narrative, it is critical to combine the existing sexual image of Hwang Jin-yi with the image of a free individual to seek for her own identity, rather than to seek for the graceful gisaeng image against the transmitted story. Such a way of interpreting a gisaeng opens a door for modern people suffering under the burden of capital and norms to escape from daily life and pursue the world of freedom. Gisaeng Hwang Jin-yi refused to accept the suppression of the institutions and times and sought after her own world as a free person, and it is the very reason why she is still living and breathing with life force among us.

다국어 초록 (Multilingual Abstract)

This study analyzes the differences in the narrative of the drama Hwang Jin-yi and the movie Hwang Jin-yi. Both works describe the same figure called Hwang Jin-yi, however, there are differences in adapting the original story. The drama adopted the traditional Hwang Jin-yi story and depicted her as an independent performer. Although the movie tried to reproduce the modernized version of novel to deliver the novelist’s thematic focus.
The success of the adaptation of Hwang Jin-yi story depend on the way of interpreting the charms of a gisaeng in addition to storytelling. The drama succeeds in creating new Hwang Jin-yi by presenting her as an independent woman wanted by the audience and incorporating sexuality into her life as a performer and gisaeng. Meanwhile, the movie attempts to create Hwang Jin-yi different from the conventional image and accordingly shows the audience Hwang Jin-yi who devotes herself to her love instead of sensual Hwang Jin-yi. The ambiguous character, however, fails to satisfy both the audience that expected to see her conventional image and the audience that anticipated a new interpretation of her.
To continue to have a life force of Hwang Jin-yi in video narrative, it is critical to combine the existing sexual image of Hwang Jin-yi with the image of a free individual to seek for her own identity, rather than to seek for the graceful gisaeng image against the transmitted story. Such a way of interpreting a gisaeng opens a door for modern people suffering under the burden of capital and norms to escape from daily life and pursue the world of freedom. Gisaeng Hwang Jin-yi refused to accept the suppression of the institutions and times and sought after her own world as a free person, and it is the very reason why she is still living and breathing with life force among us.

참고문헌 (Reference)

1 김민경."女 봐라! 기생들 납시오"."주간 동아"564, "女 봐라! 기생들 납시오" (564) : 2006

2 이신복, "황진이론. in: 황진이 연구" 창학사 1986

3 이동준, "황진이 설화의 문학적 연구" 한국어문학회 (90) : 1997

4 강전섭, "황진이 문학유산 정리. in: 황진이 연구" 창학사 1986

5 이현경, "현대영화가 ‘황진이’를 소환하고 재현하는 방식-<황진이>(배창호, 1986)와 <황진이>(장윤현, 2007)를 중심으로-" 한국고전여성문학회 (15) : 93-122, 2007

6 서지영, "조선시대 기녀 섹슈얼리티와 사랑의 담론" 한국고전여성문학회 (5) : 291-322, 2002

7 "영화 <황진이>(2007. 06. 06 감독 장윤현)"

8 이명현, "역사와 상상력의 착종" 중앙대학교 문화콘텐츠기술연구원 (3) : 2007

9 임규찬, "역사소설의 최근 양상에 관한 한 고찰 -'황진이'의 소설 형상화를 중심으로" 국어국문학회 141 : 57-82, 2005

10 함복희, "야담의 문화콘텐츠화 방안 연구" 우리문학회 (22) : 149-181, 2007

11 차혜영, "사실, 주체, 섹슈얼리티-‘황진이’류 소설에 대하여" 대중서사학회 (14) : 145-166, 2005

12 이영진, "배우들에게 집중해서 봐주면 좋겠다—<황진이>의 장윤현 감독 인터뷰" 2007

13 신원선, "드라마<황진이>의 대중코드 읽기" 민족문화연구소 (35) : 241-278, 2007

14 "드라마 <황진이>"

15 김탁환, "나 황진이" 푸른역사 2002