부산 배경 영화에 나타난 폭력 -<친구> <범죄와의 전쟁> <변호인>을 중심으로

Abstract

Set in Busan, the film Friend dealing with violence as a theme is a story about a friend from childhood who grows up to be a gangster. For the interests of his crime syndicate, he cruelly issues orders to have his friend killed. Considering the circumstances set up in this film, what leads the boys to become gangsters seems to be the school they attend as well as their family backgrounds. As Pierre Bourdieu shows, this film makes a point of the symbolic violence imposed on the life of an individual. Nameless Gangster shows how the state violence and the violence of gangs intertwine with each other. It also sardonically points out that violence is not rampant only in the criminal world, and structural violence routinely takes place in the world of prosecutors due to hierarchial conflicts, and that cultural violence based on the Confucian value of blood relationships often causes social ills. The Attorney seriously takes note of state violence. With quixotic naivety, attorney Song tries to decide on right and wrong about the state violence in the court, but he fails miserably. Helpless and indignant, he takes to the streets to resist the flagrant state violence. These are three notable films which are in common in that they deal with violence in Busan, but each director shows distinct intentions from each other. Director Gwak and director Yoon were born in Busan, and director Yang was not. We may find the motif of nostalgia in Friend by director Gwak Gyeong-taek, and a cynical accusation of ‘the war against crime’ under the government of president Roh Tae-woo in the film by director Yoon Jong-bin. And director Yang Woo-seok’s The Attorney seriously takes issue with state violence. Friend and Nameless Gangster put forward the image of Busan as a city of violence whatever intentions the directors may have. On the other hand, The Attorney highlights the image of Busan as a pro-democratic city that tenaciously resists state violence. The image of an area is formed through mass media as well as individuals’ concrete experience. In films, the place used as a setting is represented through visual images, and the characters’ behaviors are immediately seen by the audience. As a result, the audiences experience the violence more vividly, like in real life. When films set in Busan repeatedly represent violence as a subject matter, that will inevitably produce an image of Busan as a city of rampant violence even thought it is far from the director’s intention, or the reality. Furthermore, if it’s in the case of a commercially successful movie, the repercussions will be even more amplified. Therefore, the way directors represent violence in their films is very important and influential. But audiences’ attitude is important as well. Dazzled by ostentatious spectacle reinforced with images, the audiences would consume films just as a kind of entertainment, paying little attention to the director’s underlying intention. in a consumer society, cinema audiences would like th satiate their audio-visual desires through films as a cultural product while felling catharsis. To see a movie with full empathy, or to appreciate it while maintaining a critical distance, that it the question. However, for changing established image that Busan is violent, Busan should focus on trying to improve their image. Supposedly, Korea had been known as negative image such as Korean war, the division of Korea into north and south, poverty and demonstration, but Korean is changing the image. Through becoming one of the top ten largest economy in the world, Korean has been known as Korean wave, K-pop, IT, automobile etc. In the same way, if Busan accomplish strategic orientation such as global cities, marine city, cinema city, distribution city, sightseeing convention city, Busan will break from the negative images naturally.