공포에서 해원으로 - 1980년대 전후 영화 속 무당 표상과 사회적 무당의 탄생

Abstract

This paper is to examine how shamans and their rituals were represented in Korean films between mid-70s and mid-90s and what were their significances. During this period, shamans were strongly featured in Korean films more than ever. What is noticeable is that until the 1960s, Korean films portrayed Shamanism as a superstition which deluded the world and deceived the people, and ruled out it would decline with the modernization of the country. Korean films featuring shamans from late-70s to mid-80s such as <Leodo(1977)> showed changes from their predecessors, portraying shamans as a person wielding an ultimate power in their respective community. However, they were still portrayed as fearful and grotesque beings and stayed almost the same. Such trend might be brought by the local theatre scene which embraced traditional arts forms during the early 70s as it accepted Orientalism wholeheartedly while adopting contemporary European theatre practices. Meanwhile, in local films featuring shamans from the late 80s and to mid-90s such as <A Wanderer Never Stops On The Road(1987)>, shaman rituals solaced the vindictive spirits who were sacrificed during national tragedies for the first time. This trend could be related to the fact that progressive art movement led by Madang Theatre grew fast in the early 80s and progressive social movement touched-off by Gwang-ju Democratization Movement witnessed numerous deaths and as a result, shaman rituals were performed frequently during memorial ceremonies and funeral services. In these films, shamans were familiar and sorrowful beings and portrayed as a comforter who represented pains of the living and the dead as well.