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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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1950' Korean society was the period of confusion and stagnation derived from the sudden end of colonial domination and despotism of fascist power, but dynamicaly made peculiar modernity. Concerned with films of late 1950', while the western 'materialism' and 'hedonism' brought about the salient contradiction, the modernity is 'gendered' so that the anxiety and denial attended with modernization concentrated on women exclusively.
'Materialism' made paradox in that it drove women into heterosexuality, marriage system and domestic space and at the same time constrained to go into public sphere in various ways. However the fact that women in public sphere were in trouble and condemned present their binding by double trap of sexual objectification and relentless capitalist principles.
This article focused the representation of dynamic female subjects going through social and cultural transformation caused by postwar upheaval and process of modernization around two melodrama texts of Shin Sang-ok. After war, absence of men or emasculation impose a family responsibility upon women, in result their sex role, sexuality and socila mobility became the central field of rapid change and acute contradiction. Melodrama in this times represented such a split and attractive female imagery,
Especially Shin' s melodramas figured excellently all of these by the confrontation between male and female on the one hand, private and public spheres on the other hand. Sometimes in this films, two spheres reached reconcilation and equilibrium through the mediation of 'marriage', but radically anti-women characteristics of public sphere and women's suffering experienced in this process illustrated the uneasy relation between women and public sphere and new modern women trained through the process.
〈This is not her sin〉 and 〈Garden of sisters〉 represented how women in this times deprived their sexual autonomy and freedom by marriage system and traditional sex role in exploitive capitalist society and the structure of anti-women public sphere.
The plots composed of entangled romance, material demand and desire of success narrativise female subjects' crisis and challange passing through modernization within the context of 'self-regulation' and 'self-censorship' in private sphere and 'deprivation of citizenship' in public sphere. Emotional effect of melodrama gave rise to by women's suffering and dilemma in that conventional demand for maternity represses female desire and incessantly sexualized female body brought about moral crisis and forced over-sacrifice and cost. So women in public sphere were described oscilating subjects between convention and taboo, desire and reality.
'Materialism' made paradox in that it drove women into heterosexuality, marriage system and domestic space and at the same time constrained to go into public sphere in various ways. However the fact that women in public sphere were in trouble and condemned present their binding by double trap of sexual objectification and relentless capitalist principles.
This article focused the representation of dynamic female subjects going through social and cultural transformation caused by postwar upheaval and process of modernization around two melodrama texts of Shin Sang-ok. After war, absence of men or emasculation impose a family responsibility upon women, in result their sex role, sexuality and socila mobility became the central field of rapid change and acute contradiction. Melodrama in this times represented such a split and attractive female imagery,
Especially Shin' s melodramas figured excellently all of these by the confrontation between male and female on the one hand, private and public spheres on the other hand. Sometimes in this films, two spheres reached reconcilation and equilibrium through the mediation of 'marriage', but radically anti-women characteristics of public sphere and women's suffering experienced in this process illustrated the uneasy relation between women and public sphere and new modern women trained through the process.
〈This is not her sin〉 and 〈Garden of sisters〉 represented how women in this times deprived their sexual autonomy and freedom by marriage system and traditional sex role in exploitive capitalist society and the structure of anti-women public sphere.
The plots composed of entangled romance, material demand and desire of success narrativise female subjects' crisis and challange passing through modernization within the context of 'self-regulation' and 'self-censorship' in private sphere and 'deprivation of citizenship' in public sphere. Emotional effect of melodrama gave rise to by women's suffering and dilemma in that conventional demand for maternity represses female desire and incessantly sexualized female body brought about moral crisis and forced over-sacrifice and cost. So women in public sphere were described oscilating subjects between convention and taboo, desire and reality.
목차
1. 1950년대 후반의 한국 사회와 성별화된(gendered) 근대성
2. 신상옥의 멜로 영화들과 근대적 여성 주체
3. 〈그 여자의 죄가 아니다〉: 공적 영역을 위협하고 교란하는 여성들의 사적 진실
4. 〈자매의 화원〉: 사적/공적 영역을 가로지르는 한 여성의 외디푸스 궤도
5. 멜로드라마 장르와 여성의 문화적 권력화(Cultural Empowerment)
참고문헌
ABSTRACT
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