한국영화에서 표상된 시(詩)의 문화자본적 속성 연구 = A Study on the Cultural Capital Attributes of Poetry Represented in Korean Cinema

다국어 초록 (Multilingual Abstract)

This study sociologically examines how ‘poetry’ is consumed in Korean films, using Bourdieu’s theory of cultural capital as an analytical framework. The subjects are Lee Chang-dong’s Poetry (2010) and Lee Joon-ik’s Dongju (2016) and Byeonsan (2018), cross-analyzed to typify patterns of poetry consumption.
In Poetry, poetry originates from the lower class’s ‘cultural goodwill,’ transforms into an ethical practice responding to victims’ suffering, and functions as a language resisting dominant symbolic power. In Dongju, poetry is sanctified as national symbolic capital forming national identity within a colonial context. In Byeonsan, embodied cultural capital is converted into hip-hop, exhibiting a pattern of capital conversion reappropriated as a language of self-affirmation.
Common to all three films is that poetry is completed only when one confronts the suffering of others, one’s own shame, and wretched origins head-on. While this reiterates Bourdieu’s logic of class reproduction, it simultaneously entails the potential for symbolic subversion that cracks the existing social structure. This study identifies that poetry consumption in Korean films extends beyond mere upward social mobility into ethical, national, and self-affirming practices, and critically examines the explanatory power and limitations of Bourdieu’s theory.