지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
This paper's aim is to understand the body politics through the analysis of the representation mechanism in which how women's body images are composed in cinema using the gender code/structure connected with the opposition code.
The body representation system in cinema is related to the post-modem human's value system based on body's relieved thoughts as well as to the cinema's substantial virtue from the beginning. In this context, the representative cinema texts such as 301 302 and 200 Pounds Beauty are very interesting to decode together since the both texts are made under the core women's body reaction facing the patriarchal gaze regarding women's body representation in the name of female's beauty.
Through the analysis of the symbolic image signs about the female character's composition and transformation, the female characters are suffering because of the split identities's problems surviving as the subject as one-self. In this context, these two texts show very different strategies to treat the female body's representation system. For instance, 301 and 302 succeed in communicate via the carnival ritual which represent the healing of their own trauma. In contrast, Hanna/Jenny as heroin of 200 Pounds Beauty represents women's body as to reform, so to change and to correct to be loved and conformed by the male gaze through. Especially the later pursued bodily beauty project without any reflection on the notion of split subject problem combining the body's change to the ideal beauty and inner subject. Analysing these two significant texts regarding women's body project, one admits that the gender code is strongly and effectively constructed by female identity problem conforming or confronting regarding women's as body-subject using the opposition code.
The body representation system in cinema is related to the post-modem human's value system based on body's relieved thoughts as well as to the cinema's substantial virtue from the beginning. In this context, the representative cinema texts such as 301 302 and 200 Pounds Beauty are very interesting to decode together since the both texts are made under the core women's body reaction facing the patriarchal gaze regarding women's body representation in the name of female's beauty.
Through the analysis of the symbolic image signs about the female character's composition and transformation, the female characters are suffering because of the split identities's problems surviving as the subject as one-self. In this context, these two texts show very different strategies to treat the female body's representation system. For instance, 301 and 302 succeed in communicate via the carnival ritual which represent the healing of their own trauma. In contrast, Hanna/Jenny as heroin of 200 Pounds Beauty represents women's body as to reform, so to change and to correct to be loved and conformed by the male gaze through. Especially the later pursued bodily beauty project without any reflection on the notion of split subject problem combining the body's change to the ideal beauty and inner subject. Analysing these two significant texts regarding women's body project, one admits that the gender code is strongly and effectively constructed by female identity problem conforming or confronting regarding women's as body-subject using the opposition code.
목차
1. 들어가는 말
2. 몸의 이미지 재현과 주체(들)의 형성
3. 〈301ㆍ302〉-몸의 욕망과 소통
4. 〈미녀는 괴로워〉-몸에 새겨진 계엄령 그리고 괜찮아(?)
5. 나오는 말
참고문헌
Abstract
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