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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2023.3
- 수록면
- 5 - 39 (35page)
- DOI
- 10.17947/FS.2023.3.95.5
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초록· 키워드
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This is an era in which people do not regard absolute poverty as their own problem. However, the low rates of poverty and the seeming ease of escaping from poverty mean that the poor have to bear a greater stigma. As evidenced by the emergence of various words that hate the poor, poverty has become a shame that must be thoroughly concealed. Poverty is becoming a disease of the mind, beyond just economic difficulties.
This article focuses on contemporary Korean films that put poverty at the center of the narrative. Films after the 2010s, which focused on poverty as a problematic reality of young people, are the main subjects of research. Under the premise that cinema is essentially the story of a community belonging to the public realm, I will examine the way poor young people are being narrativised on the screen, and through it, I will try to reveal the main affect of this era. The Films that imagines poverty provide an opportunity to discuss the value systems that dominate this era and the psychological reality shared throughout society, along with the opportunity to face our inner desires and anxieties’.
The current films, which put poor young people at the center of the narrative, erased the connection with the social reality of the times, unlike the past, when poverty was contextualized as closely related to the history of the nation. Poverty is represented as a very personal problem. Today’s young people have been living hard in high-intensity competition since childhood, but the reward for it is very small. As the difficulties of growth faced by the young generation and the variables of choice and responsibility intervene, a more complex and dark psychological landscape depicting poverty was created in the film.
In these films, the young man is represented as a ‘homeless’ wandering in search of a place to sleep, in a situation of isolation in which all personal relationships are disintegrated. In addition, various hate speeches that distinguish and constantly stigmatize poor young people appear every time, and among them, the self-hatred that poor young people in the same situation spit out toward each other requires attention. Although the state of mind differs depending on gender, most films carefully depict the process by which the space occupied by the poor young people becomes narrower, the moment when the relationship is broken and they are stigmatized and insulted. These films, which end in destruction or isolation without any hope, bring to the fore a more gloomy affect than modern people’s sense of alienation. The image of a young man who chooses the path of subordination rather than bocoming a master forms a depressing self-portrait of a young generation with anxiety about a dead-end world and self-hatred.
What lies behind this cinematic phenomenon is meritocracy that brings meritism to the fore. Meritocracy, a regime that dominates the minds of people of this era, is democratic compared to Aristocracy, but it causes continuous anxiety and produces hatred. Under meritocracy, which connects ability, performance and reward in a straight line, ordinary people are more likely to feel frustrated and have the feelings of losers and drive everyone into a state of psychological poverty. Furthermore, as neoliberal values are internalized, a very desperate perception of reality and self-hatred are prevalent. These problems cannot be overcome by individual will alone, but can be solved only when the entire community cooperates together. Cinema, a kind of public record, can be an affective way to reduce the wounds of the heart and prevent hatred by alleviating the pressures from meritocracy and performance.
This article focuses on contemporary Korean films that put poverty at the center of the narrative. Films after the 2010s, which focused on poverty as a problematic reality of young people, are the main subjects of research. Under the premise that cinema is essentially the story of a community belonging to the public realm, I will examine the way poor young people are being narrativised on the screen, and through it, I will try to reveal the main affect of this era. The Films that imagines poverty provide an opportunity to discuss the value systems that dominate this era and the psychological reality shared throughout society, along with the opportunity to face our inner desires and anxieties’.
The current films, which put poor young people at the center of the narrative, erased the connection with the social reality of the times, unlike the past, when poverty was contextualized as closely related to the history of the nation. Poverty is represented as a very personal problem. Today’s young people have been living hard in high-intensity competition since childhood, but the reward for it is very small. As the difficulties of growth faced by the young generation and the variables of choice and responsibility intervene, a more complex and dark psychological landscape depicting poverty was created in the film.
In these films, the young man is represented as a ‘homeless’ wandering in search of a place to sleep, in a situation of isolation in which all personal relationships are disintegrated. In addition, various hate speeches that distinguish and constantly stigmatize poor young people appear every time, and among them, the self-hatred that poor young people in the same situation spit out toward each other requires attention. Although the state of mind differs depending on gender, most films carefully depict the process by which the space occupied by the poor young people becomes narrower, the moment when the relationship is broken and they are stigmatized and insulted. These films, which end in destruction or isolation without any hope, bring to the fore a more gloomy affect than modern people’s sense of alienation. The image of a young man who chooses the path of subordination rather than bocoming a master forms a depressing self-portrait of a young generation with anxiety about a dead-end world and self-hatred.
What lies behind this cinematic phenomenon is meritocracy that brings meritism to the fore. Meritocracy, a regime that dominates the minds of people of this era, is democratic compared to Aristocracy, but it causes continuous anxiety and produces hatred. Under meritocracy, which connects ability, performance and reward in a straight line, ordinary people are more likely to feel frustrated and have the feelings of losers and drive everyone into a state of psychological poverty. Furthermore, as neoliberal values are internalized, a very desperate perception of reality and self-hatred are prevalent. These problems cannot be overcome by individual will alone, but can be solved only when the entire community cooperates together. Cinema, a kind of public record, can be an affective way to reduce the wounds of the heart and prevent hatred by alleviating the pressures from meritocracy and performance.
목차
국문요약
1. 가난이 숨겨진 시대의 가난영화
2. ‘홈리스’의 정동
3. 관계의 단절과 고립
4. 혐오의 언어
5. 신자유주의의 내면화와 메리토크라시(meritocracy)
참고문헌
Abstract
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