말괄량이가 아닌 야수 길들이기-한국영화 속 동물 조련의 젠더 역학-
The Taming of Not the Shrew But the Beast -Female Tamers in Contemporary South Korean Films-
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If the Elizabethan England has brought Shakespeare a shrew as a wild but tamable human animal, the emergence of the first woman leader/president in South Korea assigns women-on-screen a role of taming wild non-human animals. The heroines of films such as Howling (2012), A Werewolf Boy (2012), and Mr. Go (2013) advantageously domesticate such wild beasts as a dog-wolf hybrid, a werewolf, and a circus gorilla, respectively. However, this paper neither celebrates the historical elevation of women’s status nor aims at an ideological reading by identifying such fictional tamers with the new South Korean president. Rather, it pays attention to how the tamers are, along with the beasts, alienated and otherized in South Korean society, represented as an inexperienced and belittled police detective (Howling), a tuberculosis patient (A Werewolf Boy), and a mercenary Chinese circus girl (Mr. Go). Tellingly, each woman finds solace in her cultured relationship with nature, namely the beast despite a King-Kong-film-like obstruction and social prejudice against their co-habitation. Donna Haraway’s metaplasmic concept of “naturecultures” allows me to explore this aberrational domestication that “remodels” both the handlers and the animals as “companion species.” However, partly because wild beasts are far from companion animals and partly because the beasts are much more otherized and even instrumentized than the women in human society, the “co-constitution” of the kinship between them is soon ruptured and interrupted by Althusserian ideological apparatus. In considering this constitution and rupture of the natureculture and reconsidering the meaning of domestication of human (female) and non-human animals, this textual analysis addresses how the alienation/otherization is related to the gender dynamics in South Korea, just like Shakespeare’s time, in the age of its woman leader.
Abstract
If the Elizabethan England has brought Shakespeare a shrew as a wild but tamable human animal, the emergence of the first woman leader/president in South Korea assigns women-on-screen a role of taming wild non-human animals. The heroines of films such as Howling (2012), A Werewolf Boy (2012), and Mr. Go (2013) advantageously domesticate such wild beasts as a dog-wolf hybrid, a werewolf, and a circus gorilla, respectively. However, this paper neither celebrates the historical elevation of women’s status nor aims at an ideological reading by identifying such fictional tamers with the new South Korean president. Rather, it pays attention to how the tamers are, along with the beasts, alienated and otherized in South Korean society, represented as an inexperienced and belittled police detective (Howling), a tuberculosis patient (A Werewolf Boy), and a mercenary Chinese circus girl (Mr. Go). Tellingly, each woman finds solace in her cultured relationship with nature, namely the beast despite a King-Kong-film-like obstruction and social prejudice against their co-habitation. Donna Haraway’s metaplasmic concept of “naturecultures” allows me to explore this aberrational domestication that “remodels” both the handlers and the animals as “companion species.” However, partly because wild beasts are far from companion animals and partly because the beasts are much more otherized and even instrumentized than the women in human society, the “co-constitution” of the kinship between them is soon ruptured and interrupted by Althusserian ideological apparatus. In considering this constitution and rupture of the natureculture and reconsidering the meaning of domestication of human (female) and non-human animals, this textual analysis addresses how the alienation/otherization is related to the gender dynamics in South Korea, just like Shakespeare’s time, in the age of its woman leader.
참고문헌 (12)
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