텔레비전 드라마의 ‘王政’과 ‘復古’: 미니시리즈의 타임슬립과 복고 선호 양상을 중심으로

Abstract

Restoration is coming into fashion in Television Drama. They seem to exist asa form of Time-Slip and Retro drama. This essay will mainly focuses on a threadof and ultimately provide a guidance to find cultural connection in interests onmonarchy and retro that has never existed before. Some of recent mini-series inwhich frequent appearance of Variety-of-Past is remarkable deals with both timesand spaces of the past. By the means of retroversion, the sense of time discrepancybetween the past and the present may be disturbed. Time-Slip deals with fantastic movement of the time and space between thepresent and past. This can be classified into Summon, Dispatch, Person, System,Reside, Round-trip with respect to its movement of time and space, objects andshapes. However, there is a common factor that exceeds such materializationclassification, which is the true love between the man and woman. More importantly,the basic structure is not basically different from that of melodramas about themodern times, except for the fact that it is apart from being a time-travellingfantasy. Nonetheless, Time-Slip is spotlighted because of emotional resistance againstfatigue brought from capitalistic reappearance of Cinderella Motive. Meanwhile, restoration is based on generational continuity and it puts an emphasison calling the attention to the past of relatively more recent history about the auraof those days. Interestingly, retro-becomes-young can be noticed in some of recent miniseries. While the emotion of retroversion has been generally considered to beexclusive for the middle-aged and the elder who show tendency of ruminatingover the past in a way that is quite different from the actual one, it has nowbecome cultural goods for everyone including the younger generation owing tothe acceleration of life in contemporary society in general. The return of the Prince and the exile of Chaebol, or the Time-Slip, whichcould possibly be condensed into disillusion of ‘right now’ or reminiscence of ‘backin the days’, reflects the exhausted state of Korean society as of right now. Thetwo things discussed above are outputs made of dramatical imagination, whicharise in light of resolving epidemic exhaustion in our society, recollecting distorted‘past’ against the sequence of the precedent. They play a positive role in collusionof recovering the present through sympathetic memory. There is, however, alsoa possibility that unconditional replacement of ‘beautified inside screen world’ intothe real world may disturb the mechanism of memory and oblivion, and, in turn,could lead us to sarcasm towards the reality.