2000년대 코미디영화에 나타난 대중성과 전복성에 관한 연구 :내러티브 전략과 카니발 이론을 중심으로

Basic Information

Title

2000년대 코미디영화에 나타난 대중성과 전복성에 관한 연구 :내러티브 전략과 카니발 이론을 중심으로

Subtitle

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Parallel Title

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Country

국내

Production Date

2010-**-**

Language

한국어

Size (mm)

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Pages

85

ISBN/ISSN

-

Edition

-

Master Files

-

Producer

박미경 (동국대 대학원 연극영화학 석사 논문 저자)

Description

(논문요약)[영문초록] Despite the fact that comedy movies are the second favorite genre after the action movie among the Koreans, there have been very few studies regarding the genre in the history of Korean movie. The primary reason is that the comedy movies have been an object of suppression by a consensus that the genre of comedy is condemned as low-class and childlike and hence it does not need to be treated in a serious way. In this situation, the 2000’s is a remarkable period for the history of Korean movies. This era is characterized by economic crisis from the currency crisis to the subprime mortgage crisis. In the time of economic difficulties, Korean movie market showed remarkable growth. In the early 2000’s, a so-called gangster boom began with the movie Friends, creating a coinage of “gangster comedy” that attracted the attention from the audience. As a result, the total number of audience for domestic movies exceeded 10 million, achieving Korean movie market share of 50%. The reason for discussion about comedy movie as of now is based on the interesting observation of the enthusiastic response of the audience toward the domestic comedy movies at a time characterized by an economic crisis and high market share of Korean movie. Hence, it is meaningful to look at the movie industry at a specific era of 2000’s and narrow down the focus to the specific genre of comedy movie. A total of six movies were selected as a sample in this paper, three movies from the early 2000’s, My Wife is a Gangster, My Sassy Girl and Sex is Zero, and three comedy blockbusters from the mid and late 2000’s, Secret Couple, Speed Scandal, and The Good, The Bad, The Weird. The narrative strategies of characters, theme (conflict), and plot (conflict: solution) of these movies were compared to examine how the comedy movie approaches the changing demand from the audience and secure the popularity. The second is a matter of subversion, which is one of the fundamental characteristics that evolved along with the appearance of comedy. Hence, this study discusses how the subversive elements are changing and becoming to more systematically subversive/regressive by comparing the subversive properties of comedy movies between the early 2000’s and the mid and late 2000’s. Besides, this study also considers an industrial aspect by examining the reflection of reality, in addition to the single analysis on the text. In an analysis of the narratives, the movies in the early 2000’s evolve around a love affair between man and woman, where the story beings from the lack of love to be concluded with the realization of mutual love. The female characters appear as a strong female Aeron which is a personality type of Northrop Frye combining the popular cultural notions, e.g., gangster, bizarreness, and sex. On the contrary, male characters appear as stupid and indecisive Aeron. The role of marked supporting characters adds spice to the main storyline of the movie by diversifying the storytelling. The movies in the early 2000’s are filled with protruding conflicts regarding generations, gender, classes, etc. Moreover, there is a punishment to the women who violates traditional customs after which the tension is resolved and sealed. Meanwhile, the theme of the movies in the mid and late 2000’s combines a variety of subjects such as family, chase, and battle, to the love affair between man and woman. Despite the diversification of the main characters such as strong woman Aeron, rustic, buffoon, combination of buffoon and Aeron, etc., the storyline is depicted in a simple way in that the conflict emerges within the framework of the main characters and eventually solved, instead of adding strong supporter or opponents to the story. The nature of the audience’s laughter also changed. The audiences usually respond to the situation, conversation, and body language of the characters similar to the slapstick comedy, rather than being provoked by exquisite story.

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