폭력적 죽음의 재현 양상 연구 -90년대 후반 한국영화를 중심으로-

Abstract

This paper examines two aspects about the representation of 'violent death' after the late 1990's Korean film. One is male-collectivenostalgia film, the other is female-family-murder film. These include some curiosity-seeking 'violent death' scenes. For example, homo-social male group in the extra- ordinary situation (korean war, vietnam war, the antarctic circle, GP in korean demilitarized zone) murders each other and then nobody live. One lunatic mother in patriarchal family murders her child and her husband. A Fired husband kills his wife who is able to make money. The ostensable reason is wife's bad maternity but really inner reason is wife's adultery. This film "Happy End" starts female-family-muder's film. In my opinion, this circuit fundamental base is male-fear, anxiety from a patriarchal breakdown, a self-collapse, a male pride's frustration after late 90's social-economic changes. These male-fear is infectious female-muder. It's 'domino phenomenon of fear'. Patriarchal fear calls mother's muder, mother'muder calls child's death. Male-collective-nostalgia texts are "silmi do"(2003), "Flapping Tai-Geuk flag"(2004), "R point"(2004), "Diary of South Pole" (2005), "GP 506"(2008). Female family-murder texts are " "Tell me something" (1999), "So-leum"(2001), "Phone"(2002), "Acacia" (2003), "Table for 4 persons"(2003), "Janghwa and Hongryun" (2003), 'The Red Shoes" (2005), "Cello"(2005). In these films, the death exhausts and consumes through the way of violent representation and then the representation of death makes light, the death deals with shallow and superficial. But at the same time, theshallow and superficial death operates safety-valve for the unbearably patriarchal fear and breakdown.