영화 <왕의 남자>의 흥행코드 읽기

Abstract

The present study examined the audience values of movie <King and the Clown>, focused on the expression of in‐depth mentality of homosexuality, the shaping of more popularized contents and figures observed in the process of dramatizing the original play <Yi>, and the visual shaping of Sohhakjihui and Namsadang Nori. Gong‐gil sees animus, the man in his mind, in Yeonsan and Jangsaeng, and Yeonsan sees anima, the woman in his mind, in Noksu and Gong‐gil. In the double triangular structure, Noksu confronts Gonggil, and Jangsaeng does Yeonsan. To each other, they exist as persona and a shadow. In this way, movie <King and the Clown> deals with people’s delicate mentalities profoundly not through simple homosexual triangular structure but through double triangular structure. Although <King and the Clown> is based on play <Yi>, Gong‐gil was shaped into a more positive figure in the process of dramatization, and homosexual scenes were all edited out or implied indirectly. Considering the nature of a movie that has larger audience than a play, contents that may offend the public or flaw the attractiveness of the hero were all removed. <King and the Clown> borrows Korean traditional plays into the movie and succeeds in showing more dynamic spectacles than the original traditional plays. In that it has drawn Korean traditional entertainments, which have been barely surviving, out to the public and popularized them, the movie deserves to be said to have upgraded the level of Korean films. In conclusion, the audience values of <King and the Clown> are found not in its materials such as clowns’ performance or King Yeonsan’s story but in the rediscovery of Korean people’s in‐depth mentality.