드라마 <황진이>의 대중코드 읽기 = Reading Popular Codes in the Drama Hwang Jini

다국어 초록 (Multilingual Abstract)

The purpose of this paper is to analyze Hwang Jini’s own popular codes, a drama possessing popularity differentiated from other historical dramas.
For this purpose, this paper examines the drama from the three perspectives of the aspects of variation appearing in the course of adaptation of the original novel, initiation drama, and the power of tiny and refined mise-en-scene.
The drama Hwang Jini, and its original novel Me, Hwang Jini have clearly different colors and contents. Whereas the novel describes Hwang Jini as an intellectual close to a seeker after the truth, the drama spends more time to portray her as a dancer. Meanwhile, there appear scenes of competitions between Baek Mu and Hwang Jini, and between Maehyang and Buyong, which are not contained in the original drama, but are dramatic devices appearing in the course of adaptation in order to promote the dramatic excitement.
The stories of Eun-ho and Kim Jeong-han, heroes of the two great melodramatic lines of the drama, proceed quite differently from the original. Both Kim Eun-ho, Hwang’s first man, and Kim Jeong-han, her second man, also are depicted as unmarried men who hold Hwang in their heart for the first time. This is because the drama can attain sympathy from the public only when Hwang shows purest love because she has the status of a Gisaeng. As such, in the drama Hwang Jini, every other character is adapted to make Hwang’s attractiveness prominent differently from the original, and those characters who don’t are all eliminated.
What is visible in the drama is the depiction of the training course in which young Hwang Jini is grown as a famous Gisaeng undergoing fails and difficulties, whereas what is invisible (but we can see through) is the process of a human’s ordeals and realization, who tries to incessantly seek the human way, which makes a foundation for the drama.
In order to show the course of Hwang Jini’s growth visually, the drama Hwang Jini selects dance, a visual art genre. And, the invisible growth drama resembles the mythological structure of entrance to death. The entrance to death in the drama is realized with love, and the stage of redemption of the love is inherited by art. Such path of Hwang Jini’s shows the course of growth in which she progressively completes greater arts through hurts by love and their overcoming, and simultaneously realizes the human way.
The power of tiny and refined mise-en-scene meets its climax with the beautiful mountains and rivers, and buildings appearing in the drama as backgrounds, the traditional Korean clothes that the main characters are dressed with, and the traditional Korean dances. As such, the drama Hwang Jini succeed in attaining popularity by differentiating the story with the power of tiny and refined mise-en-scene, which otherwise is easily regarded as boring as it is excessively well-known to the public.

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