90년대 한국 '여성 영화'에 관한 고찰 -여성 감독의 독립 영화 분석(인터뷰를 중심으로)-

기본 정보

본제목

90년대 한국 '여성 영화'에 관한 고찰 -여성 감독의 독립 영화 분석(인터뷰를 중심으로)-

부제목

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대등제목

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국가구분

국내

생산일자

1999-**-**

언어

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크기(mm)

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페이지

123

ISBN/ISSN

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판차

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마스터파일

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생산자

김영주 (서강대학교 언론대학원 영상전공 석사 논문 저자)

내용

(논문요약)[목적] 본 연구에서 다루고자 하는 여성 영화는 페미니즘적 실천으로서의 대안 내지 대항 영화라는 점에서 그 흐름을 독립 영화계에서 찾고자 한다. 이는 독립 영화의 발전과정이 사회변화의 노력과 함께 형성되어왔다는 한국적 상황의 특수성 때문이기도 하고 페미니즘 또한 사회를 변화시키려는 노력의 맥락에서 형성된 흐름이기에 독립 영화 속에서의 여성 감독을 연구 대상으로 삼았다. 따라서 독립 영화계에서 여성 영화를 제작해 온 여성 감독이 표현하고자 했던 문제의식과 실천 양상을 분석함으로써 90년대 한국 여성 영화의 의미와 그 실체를 말하고자 하는 것이 이 논문의 목적이다. [목적] (영문초록)[영문초록] This thesis is focused on 'Woman's Film' among the Independent films, which has been more or less neglected in the discussions concerning Korean film studies. The concept of 'woman's film' is emerged in the 1990s, included in both sides of Chungmoro(named the major Korean film industry, originally the name of a district in Seoul where film companies are gathered.) and Independent film. Woman's film in Chungmoro started from "Blue in yours" that was followed by "Just because you are a woman" and so forth. The main reason for producing such movies was to attract woman audience. On the other hand woman's film among Independent films started from 'One clump of grass has a name.' that produced by woman's film studio [Bariter]. These kinds of films dealt with feminist issues directly and intentionally. This thesis focuses on the latter(Woman's film among Independent films) to demonstrate woman's film that express on the side of feminist movements. The discussion was focused on the 'woman's film' specifically produced by female film directors in the 1990s, as its initiators, [Bariter] and [Boim] including other female film directors who came from 'Women's film festival in Seoul' and female documentary writing group, [Yoedamo]. The main point of this thesis is to analyze the woman's films produced by the previously mentioned groups and their attitudes toward feminist issues. I have collected the data concerning the groups' interview and analysed them, their mind and film itself in ethnographic order. This topic is to point out a critical attitude and the development process of the above mentioned groups. The first group, [Bariter] and [Boim] dealt with feminist-oriented issues and the special herstory and practiced feminist movements in the film. These groups played a key role in getting the feminist message across the documentary and focused on realism. The 2nd female film directors group, who came from 'Women's film festival in Seoul' has various patterns of critical attitude and the development process. Mainly female film directors noticed women's daily lives to start from themselves and women's relationships, and especially have a clear desire to express 'change' which revealed apparently in their movies . Meanwhile, Yoneda group who tried to succeed critical point of view of woman's film studio in the early 1990s, has practiced various experiments with feminist issues in their movies and started the international solidarity and distribution of woman's film. This is the result of efforts that all members in the group have focused on feminist issues connected with woman's liberation. This thesis shows their unique concept in present and possibility of its prosperity in the future with analysing two woman's films, 'Secret diary'(1997, Jeong Jae Eun) and 'The way home'(1997, Km Jee Hyun). These works adopted the new method of woman's subjective telling and the structure of woman's subjective gazing surrounding with 'Space-time concept and way of communication'. These works deal with subjectivity and how to comprehend sexuality socially. Two works, self-reflective movies are to manifest internal self-observation of woman's film since they try to find the subjectivity through self-examination related to woman's identity and language. These were presented as new trial for feminist film. This thesis try provides the most contiguous concept of woman's film in Korea and a new perspective toward woman's film of the 1990s, since there has been almost no systematic studies on the practical approach and analysis on feminist discussions of woman's film and there is a lack of women director's efforts to make feminist film in Korea.

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