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자료유형
학술저널
저자정보
저널정보
한국영화학회 영화연구 영화연구 33호
발행연도
2007.9
수록면
43 - 74 (32page)

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This article examines the aspects and significance of the thriller film in the 1960s, Korea. The thriller was perhaps popular and widespread movie genre at that time, and the most difficult to define. After the military coup on 16 May 1961, there was inevitably a profound sense of an ending and a being awakened from illusion as such development of democracy represented by April Revolution of 1960. Important to the concept of thriller is not just an excess of feelings but the question of which feelings are emphasized. The thriller works primarily to evoke such feelings as suspense, escape, despair. They gave 1960's spectators pleasure by making them uncomfortable. Anxiety, vulnerability, and fright are all part of the thriller. The overload and combination and ambivalence of feelings that the thriller creats, with a resultant lack of stability, produce a strong sensation of vulnerability. The thriller creates, in both hero and spectator, a strong sense of uncertainty and pessimism. This work is to try to define the forms of existence of psychopath and villian characterized in thriller films, and to understand the nature of inner device of monologue. Its purpose is deepen our understanding of genre film by placing them within the context of social culture and exploring the public's interests and cultural values expressed within the film. I want to ask whether the thriller films really did represent social interests and culture, and explore how the cinema could foster reflection on modernization through its performance of new forms of genre film. The cinema could foster reflection on modernization through its performance of inner forms of genre film. At the same time, these films also registered the dangers and ambivalence inherent in modernity through their dramatization of violence and fear.

목차

1. 들어가며
2. 60년대, 문제적 범주로서의 스릴러
3. 비정상성의 정상성
4. 독백 장치
5. 마치며
참고 문헌
Abstract

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