박찬욱 영화 「아가씨」의 구성과 스토리텔링 분석

Abstract

The Handmaiden differs from other films of Park Chanwook: It formally perfects the composition of three acts based on thesisantithesis-synthesis dialectic, each act having its own three acts of narratives. Moreover, the division into three parts in this film completes a classical structure of three acts through a closed ending, not an incomplete one that characterizes his previous works. Also, this film draws a boundary between good and evil, and provides exciting catharsis through the destruction of the evil. The Handmaiden leads us to suspect that Park Chanwook may be leaning toward “popular universality” in that he came up with a conventional but happy, didactic conclusion. However, Park Chanwook, still sends a signal of deviation from existing norms and social systems –he demonstrates anti-class stratification through homosexuality. Aestheticism, transcending good and evil; nationalism; and cosmopolitan lesbianism surpassing heterosexuality, also illustrates Park Chanwook’s worldviews, summed up as resistance to common norms of the world. In summary, we need to focus on the following points: it appeals to universal sentiments of human beings through its dialectical structure. Moreover, it broke taboos such as lesbianism and female solidarity going beyond mockery and gloomy confirmation of our greedy lives caused by capital and class stratification. Through breaking taboos, a happy-ending of new life in that it pursues solidarity that is based on maternal instinct is prepared. Meantime, it reaches for the original form of the human identity based on a mythical and a classical narrative motif. Park Chanwook’s films can be seen as a quest for human existence that seeks universal truth as well as challenges systems, norms, and class stratification.