DESIRING FROM A DISTANCE: CINEMATIC THEATRICALITY AND SOUTH KOREA’S COLD WAR GAZE IN MADAME FREEDOM (1956)
4
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
Han Hyŏng-mo’s Madame Freedom (Chayu puin, 1956) is often overshadowed by Chŏng Pi-sŏk’s novel of the same title, which provoked public debates about representations of the moral decadence and practices of individual freedom of the upper class after the Korean War. Shifting critical attention from its relation to the original literary work to its cinematic achievements, this article elucidates how the particular mode of address intervenes in the spectator’s viewing experience. I first propose the concept of “cinematic theatricality,” which I coin from theatricality, but the concept goes beyond its association with the theater and theatrical performance, to discuss the display–spectator relationship that the film suggests. Second, I explore the political implications of the cultural Otherness of female dancing bodies by investigating public discussions of social dance in the 1950s. Finally, closely analyzing ‘Madame Freedom’ Sŏn-yŏng’s gaze and the gazes upon her, I demonstrate how the film encourages the spectator to become aware of the act of viewing while creating a distance between the spectator and the displayed. I argue that by exploring cinematic theatricality, Madame Freedom invites the spectator to observe the gendered and ethnocultural gaze that emerged in mid-1950s South Korea and the attempt of the Cold War mechanism to place the individual body and desire under surveillance
Abstract
Han Hyŏng-mo’s Madame Freedom (Chayu puin, 1956) is often overshadowed by Chŏng Pi-sŏk’s novel of the same title, which provoked public debates about representations of the moral decadence and practices of individual freedom of the upper class after the Korean War. Shifting critical attention from its relation to the original literary work to its cinematic achievements, this article elucidates how the particular mode of address intervenes in the spectator’s viewing experience. I first propose the concept of “cinematic theatricality,” which I coin from theatricality, but the concept goes beyond its association with the theater and theatrical performance, to discuss the display–spectator relationship that the film suggests. Second, I explore the political implications of the cultural Otherness of female dancing bodies by investigating public discussions of social dance in the 1950s. Finally, closely analyzing ‘Madame Freedom’ Sŏn-yŏng’s gaze and the gazes upon her, I demonstrate how the film encourages the spectator to become aware of the act of viewing while creating a distance between the spectator and the displayed. I argue that by exploring cinematic theatricality, Madame Freedom invites the spectator to observe the gendered and ethnocultural gaze that emerged in mid-1950s South Korea and the attempt of the Cold War mechanism to place the individual body and desire under surveillance
참고문헌 (30)
- "Sŏul sinmun, March 11, 1954", 1954
- "Yŏwŏn, May 1956", 1956
- "Sŏul sinmun, March 14, 1954", 1954
- "Han’guk ilbo, September 9, 1956", 1956
- "Tonga ilbo, June 10, 1956", 1956
- "Mi kongbowŏn, December 1949", 1949
- "Sint’aeyang, January 1956", 1956
- "Han’guk ilbo, June 7, 1956", 1956
- "Yŏwŏn, October 1959", 1959
- "Kyŏnghyang sinmun, July 23", 1956
- Barthes, Roland, "The Pleasure of the Text" (1975), Hill and Wang
- Brooks, Peter, "Melodramatic Imagination: Balzac, Henry James, Melodrama, and the Mode of Excess" (1976), Yale University Press
- Chung, Steven, "Split Screen Korea: Shin Sang-ok and Postwar Cinema" (2014), University of Press
- Corber, Robert J., "Cold War Femme" (2011), Duke University Press
- Elsaesser, Thomas, "Tales of Sound and Fury: Observations on the Family Melodrama", Monogram, 3, pp.2~15 (1972)
- Féral, Josette, "Foreword", Substance, 31(2 & 3), pp.3~13 (2002)
- Fried, Michael, "Absorption and Theatricality: Painting and Beholder in the Age of Diderot" (1980), University of California Press
- Hughes, Theodore, "Literature and Film in Cold War South Korea: Freedom’s Frontier" (2012), Columbia University Press
- Klein, Christina, "Cold War Orientalism" (2003), University of California Press
- Lewis, Carolyn Herbst, "Prescription for Heterosexuality: Sexual Citizenship in the Cold War Era" (2010), University of North Carolina Press
- May, Elaine Tyler, "Homeward Bound: American Families in the Cold War Era" (1988), Basic Books
- McHugh, Kathleen, "South Korean Golden Age Melodrama: Gender, Genre, and National Cinema", pp.17~42 (2005), Wayne State University Press
- Mulvey, Laura, "Visual Pleasure and Narrative Cinema", Screen, 16(3), pp.6~18 (1975)
- Mulvey, Laura, "Feminisms: Diversity, Difference, and Multiplicity in Contemporary Film Cultures" (2015), Amsterdam University Press
- Nadel, Alan, "Containment Culture: American Narratives, Postmodernism and the Atomic Age" (1995), Duke University Press
- 변재란, "한국 영화사에서 여성 관객의 영화 관람 경험 연구 : 1950년대 중반에서 1960년대 초반을 중심으로", 박사, 영화이론, pp.2000
- Tuszynski, Susan, "A Cold War Cautionary Tale: Heterosexuality and Ideology in William Wyler’s Ben-Hur", Journal of Popular Film and Television, 34, pp.116~122 (2006)
- Wollheim, Richard, "Painting as an Art" (1987), Princeton University Press
- "Yŏnghwa, September 1975", 1975