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
Bong Joon-ho's Mother is a story about mother's love into a mystery thriller that will keep you guessing every step of the way, with enough emotional firepower to twist a knot in your stomach when the truth gets played out. It's a standard three act structure here where the first hour establishes the strong family bonds between Mother (Kim Hye-Ja) and child Yoon Do-Joan (Won Bin), bordering quite close to being incestuous (but this is glossed over since we're dealing with a man-child here), before they key murder scene becomes the catalyst for Mother to do some serious investigations work in order to prove her son's innocence, given that the perverted justice system provided that bad after-taste.
It's the classic mantra of two wrongs never making one right, and how in the protection of loved ones, one will resort to extreme measures that blind common, good sense, and become a "rather you than me" syndrome, which I believe every one of us are capable of if we find ourselves pushed to a comer with no where to run. Bong Joon-Ho is again at his element in unravelling the investigations process, which ties in black comedy with painful, dramatic moments, being evenly paced with heightened tension at appropriate moments.
In Lee Chang-dang's latest film Poetry, winner of the award for Best Screenplay at the Cannes Film Festival, a young girl commits suicide after being repeatedly raped by a group of juveniles. Sadly, the fathers of the other boys are only interested in protecting their sons from prosecution, silencing the press and school officials, and collecting enough money to payoff the girl's mother.
Like Secret Sunshine, Poetry revolves around a woman mourning the death of a child, although here it is not her own. The idea for the film had its origin in a true case where a small town schoolgirl had been raped by a gang of teenage boys. In contrast to the grandmother in Bong-Joon-ho's Mother who refused to believe her son was responsible for a murder, Mija, a 66-year old played by Yung Jungee learns from the fathers of the other boys that her l6-year old grandson Wook (Lee Da-wit) was one of the six people involved in the rape and wishes to pursue justice. Though Mija privately knows that it is more important for the boys including her own personal responsibility to acknowledge their role in the crime, living in the male-dominated middle class Korean society, she reluctantly tries to raise her share of the payoff money, but expresses her feelings in not wanting to participate by the look on her face and by abruptly walking out of meetings. Yet the question must be raised - would not Mija have made more of a difference if she had engaged in a quiet conversation with her morally-challenged grandson about knowing.
It's the classic mantra of two wrongs never making one right, and how in the protection of loved ones, one will resort to extreme measures that blind common, good sense, and become a "rather you than me" syndrome, which I believe every one of us are capable of if we find ourselves pushed to a comer with no where to run. Bong Joon-Ho is again at his element in unravelling the investigations process, which ties in black comedy with painful, dramatic moments, being evenly paced with heightened tension at appropriate moments.
In Lee Chang-dang's latest film Poetry, winner of the award for Best Screenplay at the Cannes Film Festival, a young girl commits suicide after being repeatedly raped by a group of juveniles. Sadly, the fathers of the other boys are only interested in protecting their sons from prosecution, silencing the press and school officials, and collecting enough money to payoff the girl's mother.
Like Secret Sunshine, Poetry revolves around a woman mourning the death of a child, although here it is not her own. The idea for the film had its origin in a true case where a small town schoolgirl had been raped by a gang of teenage boys. In contrast to the grandmother in Bong-Joon-ho's Mother who refused to believe her son was responsible for a murder, Mija, a 66-year old played by Yung Jungee learns from the fathers of the other boys that her l6-year old grandson Wook (Lee Da-wit) was one of the six people involved in the rape and wishes to pursue justice. Though Mija privately knows that it is more important for the boys including her own personal responsibility to acknowledge their role in the crime, living in the male-dominated middle class Korean society, she reluctantly tries to raise her share of the payoff money, but expresses her feelings in not wanting to participate by the look on her face and by abruptly walking out of meetings. Yet the question must be raised - would not Mija have made more of a difference if she had engaged in a quiet conversation with her morally-challenged grandson about knowing.
목차
1. 왜 소녀의 죽음은 반복되는가?
2. 소녀의 죽음에 대한 응답, 〈마더〉
3. 소녀의 죽음에 대한 응답, 〈시〉 : 미자의 애도 작업
4. 맺음말
참고문헌
Abstract
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