‘한국형 재난영화’에 대한 고찰 - <괴물>(봉준호, 2006), <차우>(신정원, 2009), <해운대>(윤제균, 2009)를 중심으로 -

Abstract

This study is to rethink of “Korean style disaster blockbuster”, which uses for marketing of Haeundae(YOON Jae-gyun, 2009) for the first time. The purpose of this thesis is to infer the non/political intension of this generic paradigm. For this, Haeundae and The Host, (BONG Joon-ho, 2006), Chaw(SHIN Jung-won, 2009) were analyzed in the view of ‘origin’ and ‘conquest’ of disaster. Like many Hollywood disaster movies, Haeundae focuses on the spectacle of disaster digging into ‘verisimilitude’, not to mention the origin of it. While The Host and Chaw approach the absurdity of our society, which is the structure of capital and colonization revealing the origin of disaster obviously. Also in the Haeundae, the characters can not overcome disaster, but rather they get over their reality through disaster. And this movie focuses on their tearful stories. The Host,meanwhile, would go beyond the surface of disaster to the deep structure of it, therefore confront ‘real’ disaster. Also Chaw makes disaster empty thing through jokes, laughter, chatter and derangement of point of views. In these two movies, the way to conquest of disaster(confrontation/empty of meaning) differs from Haeundae that adapt to the reality willingly. Haeundae is adaptively, rather The Host and Chaw are subversive, so to speak. Ultimately, “Korean style’ disaster movie” is not dealt with in the aspect of sentimentality only, since it also refer to the ‘disaster’ which could be caused in Korea. In other words, “Korean style disaster movie”should be reset its category, if it could be interpreted in the perspective that these movies cover the problems which our society confront with via the generic frame in a new way.