영화, 정치와 시대성의 징후, 도시 중간계층의 욕망과 가족 = Movies, Symptoms of Politics and Nature of the Era, the Desires of the Urban areas` Middle Class, and the Families

다국어 초록 (Multilingual Abstract)

What kind of desires, as well as sense of values, were behind all the movies conceived, produced and put on screens from 1959 through 1961? And what would have been the connection between these passions & values, and the political changes at the time as well as the nature of the era? To answer these questions, the “Home dramas” of the 1950s should be examined. What became a popular fashion in this time period was the so called `Home Dramas,` which were essentially active `remakes` of the Radio dramas that enticed many loyal listeners in the late 1950s. This phenomena, in which the values, passions and morality of the `Middle class` were vividly realized and displayed through the narratives of TV dramas, shows us how the perspective of the Middle class became a social standard. TV dramas like < A Romantic Papa >, < The Third Rate Manager >, < The Stableman > and < Mr. Park > are the most memorable ones from this era, and they either portray the peaceful life of a middle- class family, or describe the reality of a lower-class family whose members were determined to literally `climb up` the food chain. < A Romantic Papa > or < The Third-Rate Manager > described the lives of (middle class) family members, including the everyday life of the sons and daughters in their youth whose fathers were only ordinary salary men. They portrayed the happy reality of a middle-class household where democratic values were already established as a norm. On the other hand, in < The Stableman > and < Mr. Park >, the objective of the family, either becoming rich or powerful or influential(in other words, being “successful”), was portrayed as a dream that could only come true with the family members` sufficiently restraining themselves from succumbing to one`s own egocentric passion, or the eldest`s son having a successful career. In that regard both pairs differed very much in nature from each other, yet rather unexpectedly, these different stories seem to have been sharing some commonality as well. The overall narrative of them features male characters who are portrayed as strong and enlightened, and they enlighten the either extravagant or misguided females, and finally achieve a `sweet home` they deserve. The fact that this kind of narrative began to form in the late 1950s, and hugely attracted the public`s interest, shows us a certain social mentality, which included the philosophy of `Familism` that continued to build since the end of the Korean war, the people`s general desire to obtain a higher status inside a society which was becoming increasingly competitive, the realistic point of view and value system of the Middle class, and the society`s approval of a certain level of patriarchy which would agree with such values and desires. This mentality of the public was certainly different from that of the 1950s, and was essentially signifying the advent of a different value system for the 1960s. This kind of public mentality portrayed in all the abovementioned movies also did not conflict with the political events of the time, such as the April 19th Revolutionary movement and the May 16th military coup, at least ideologically. We can say that such movies indeed served as a harbinger symbolizing the coming of a new era in many regards.

참고문헌 (Reference)

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