박찬욱 영화의 여성 서사 전개 방식 변화 연구

Abstract

This study attempts to analyze the process of change in the development method of ‘Female Narrative’ by Park Chan-wook. Based on the cinematic characteristics of Park, who builds a dramatic world on the theme of human inner and desire. This study explores on how Park ‘s ‘Female Narrative’ develops and how the development method changes. The meaning of ‘Female Narrative’ mentioned by director Park is first grasped in the 10 feature films released from 1992 to 2016. Based on the film <Sympathy For Lady Vengeance>, which became an inflection point for ‘Female Narratives’, the process of changing from object to subject is analyzed as well as changes in desire, goal and behavior of major female characters in the film. In addition, the visual expression of female characters was analyzed based on the changes in appearance, costume, and spacial expression. As a result, it can be confirmed that the main female characters have stayed in the auxiliary role of male characters but changed into subjects with desires and goals after <Sympathy For Lady Vengeance>. Furthermore, it was found that the film <The Handmaiden>, was transformed into a ‘subject’ through the self-consciousness of the female roles while trying to liberate in the structure of patriarchal ideology. In addition, the visual effects of subject expression also shows the female characters leading the narrative by constructing the screen independently in the auxiliary role by simply giving meaning to the images, psychology, and behavior. Through this, it can be suggested that Park’s ‘female narrative’ does not simply exist as a film in which the main character is a woman, but exists as a new feature and characteristic of Park’s film and can define the meaning of Park Chan-wook’s ‘female narrative’.