민주화 이후 검열과 적대 : 마광수와 장정일의 필화사건을 중심으로

Abstract

This paper analyses the process of antagonistic divergence of the collective power that was mobilized by the democratic movement and reconstruction of the system and principle of censorship in 1987 through the “Pilhwa” of Ma Kwang-Su and Chang Jung-Il. The legal mechanism for censorship after the democratic movement was the crime on sexual customs of the chapter 22 of the penal law which demonstrates the politicality of sex screening. The Publication Industry Promotion Agency of Korea played an important role in Ma Kwang-Su and Chang Jung-Il’s “Pilhwa”. They were the most representative military junta system in the 1980’s that used antiliberalism as an ideological mechanism of censorship. The suppression on Ma Kwang-Su and Chang Jung-Il was a regulation on the inner liberalism and sexual freedom. The censorship in the 1990’s regulated liberalism under the logic of neoliberalism. The “Pilhwa” of Ma Kwang-Su and Chang Jung-Il is irreducible to a two-party relationship of the inspector and the inspected. The imminent hostility towards the various agents involved in the incident demonstrate that the Korean society was readily searching for a new enemy in the absence of communism after the democratic movement. The pornographic format of Ma Kwang-Su and Chang Jung-Il presents how they sought a new method of existence amidst the antagonism toward proletarian intellectual and professional researchers. In Ma Kwang-Su and Chang Jung-Il’s text, the hostility towards the ‘female high-schooler’ and ‘female university student’ figure that sings of sexual freedom reflects the misogynistic eyes that did not accept women as sexual agents. The fact that ‘female university students’ reconstructed the culture of sexual abuse through the comic Sorrowful Country, Grievous City nevertheless prove the power of sexual expression that Ma Kwang-Su and Chang Jung-Il have not intended. This transference was made possible as Sara and Y became self-speaking agents outside of a pornographic context. However, the way women’s sexual expression is still regarded as excessive in today’s world shows who remains as the true enemy after the 1990’s. Those who remain under restriction up to the present day is Sara and Y, who pursued sexual freedom, rather than the liberalist intellectuals like Ma Kwang-Su and Chang Jung-Il. Sara and Y’s confinement within the text suppresses the fact that Sorrowful Country, Grievous City is no more than a pornographic world. After the democratization movement, politics played out in a pornographic world. This perspective that aligns the 1990’s and the contemporary period for comparison provides a frame to view women’s resistance to present-day misogyny as a politics of antagonism rather than misandry. The most important question that this paper asks is about who the Korean society is treating as the enemy. Respectively we are faced with the argument that censorship and hostility became the enemies in the place of communism after the democratic movement.