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This paper offers an analysis of 1950's crime melodrama films as it appears in the film texts of 〈The Confess(Ae-won-ui gobaeg)〉(1957) and 〈The College Woman's Confess(Eoneu yeodaesaeng-ui gobaeg)〉(1958). The motivation for this analysis is to try to define the form of the expression of the individual and the status of individuality as modern subjectivity constituted in the work of 1950's Korean Films. The ultimate objective is a finer understanding of the nature of the modernity of Korean film.
What this paper tries to problematise through the theme of crime and criminal is the confession as a particular narrative apparatus which enabled the self-expression and the ways in which that apparatus has been expressed in films. We have tried to define the narrative of confession as it appears in the works of two films. Ultimately, by defining the formation and the mode of self expression and the socio-cultural contexts which enabled these forms of self expression as the main subject of film making, we tried to explain the formal characteristics and historical meaning of 1950's Korea's film
The form and style of the 1950's Korean film seen in several crime melodramas leads from enlightenment thought to the discovery of the individual. What was important for 1950's films was not the attainment of some kind of communal connection and union through the elimination of individuality but the individual desire or emotion. Likewise 1950's crime melodrama can be distinguished from the films later than 1970's films. This is particularly apparent in the films which is based on the elimination of voices of the main characters.
Through an analysis of the narrative and the style of 1950's crime melodrama in these two films, this papet discusses the internal motivations and necessities toward the discovery of modern subjectivity. This paper thus represents an attempt to theorise the essence of the forces which have driven Korea's modern film and, by doing so, to understand and explain mote precisely the representative force of that film which has for too long been entangled in definitions of the trends such as enlightenment, realism, and modernism.
What this paper tries to problematise through the theme of crime and criminal is the confession as a particular narrative apparatus which enabled the self-expression and the ways in which that apparatus has been expressed in films. We have tried to define the narrative of confession as it appears in the works of two films. Ultimately, by defining the formation and the mode of self expression and the socio-cultural contexts which enabled these forms of self expression as the main subject of film making, we tried to explain the formal characteristics and historical meaning of 1950's Korea's film
The form and style of the 1950's Korean film seen in several crime melodramas leads from enlightenment thought to the discovery of the individual. What was important for 1950's films was not the attainment of some kind of communal connection and union through the elimination of individuality but the individual desire or emotion. Likewise 1950's crime melodrama can be distinguished from the films later than 1970's films. This is particularly apparent in the films which is based on the elimination of voices of the main characters.
Through an analysis of the narrative and the style of 1950's crime melodrama in these two films, this papet discusses the internal motivations and necessities toward the discovery of modern subjectivity. This paper thus represents an attempt to theorise the essence of the forces which have driven Korea's modern film and, by doing so, to understand and explain mote precisely the representative force of that film which has for too long been entangled in definitions of the trends such as enlightenment, realism, and modernism.
목차
1. 머리말
2. 살인과 자살, 그리고 범죄자 개인
3. 고백과 개인
4. 맺음말
참고 문헌
Abstract
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