2000년대 한국영화에 나타나는 모성상(母性像) 고찰 ―<마더>와 <피에타>를 중심으로

Abstract

This study deals with the five pieces of Korean movies including “올가미(The Hole)”, “오로라 공주(Aurora Princes)”, “세븐 데이즈(Seven Days)”, “마더(Mother)”, and “피에타(Pieta)” dubbed as ‘mother discourse’ of 2000s to see how and why the maternal image has changed. Its focus is given to “마더(Mother)” and “피에타(Pieta)”. Father does not exist in the ‘mother movies’ of 2000s. This is not only the reality of modern Korean society, but also an aspect of the modern industrial society in general. The absence of fathers has imposed responsibilities on mothers to protect their children. Mothers have changed as they undertook the roles of fathers. The quoted five movies reflect such changed image of maternity. In addition, in the wake of the ‘only-child’ complex, the mothers even make themselves a revelation of negative animus. “마더(Mother)” is a good example. This movie shows that the blind love of the mother results in tragic catastrophe. In the movie having factors of incest, the mother becomes a witch or a murderer. In this respect, “Mother” calls for our retrospection on mothers while it shows the changed image of maternity in lineage of the ‘mother movies’ of 2000s. “피에타(Pieta)” reveals multi-dimensional characteristics of a mother. The movie belongs to the category of ‘mother movies’ in a sense that the mother shows a negative image of maternity by destroying the devil in revenge of her son. On the contrary, the movie has a different status as it reveals an affectionate and positive image of the mother, presenting a new paradigm for pursuing the matter of human salvation through the ‘mother discourse.’