KCI등재후보
1990년대 이후 한국 멜로드라마 영화의 변화 : <접속>에서 <오버 더 레인보우>까지 = Transfamaticn of the Pbst-1990s Korean Melodrama
저자
박지연 (순천향대)
발행기관
학술지명
권호사항
발행연도
2004
작성언어
Korean
주제어
KDC
688
등재정보
KCI등재후보
자료형태
학술저널
수록면
167-197(31쪽)
제공처
The purpose of my essay is to discover the tendencies of contemporary Korean melodramas and to understand their meaning by examining modern melodramas since the 1990's.
The post-1990's melodramas secede from the tradition of Korean melodrama, separating from the excessive style of emotion and then discovering the meaning of everyday life. That is to speak, these melodramas, severing the linkage with the past, begin to remove the sentimental characteristics and absorb the sensibility of modern city life. For example, besides Contact as the outset, Christmas in August seems to be a momentum. For the description of everyday life became characteristic in the mainstream of contemporary Korean cinema since this movie, even though the following works couldn't compete with the aesthetic of the everyday life in Christmas in August.
This tenacious inquiry on the everyday life in the late 1990's movies seems to be related to the socio-economic changes of the 1990's Korean society. While 1980's Korean society confronted the social conflicts around the issues resulted from the rapid modernization, 1990's Korean society settled down the democratic form even in appearances and seemed to be stable economically. In addition, the macroscopic discourse began to give place to microscopic discourse, such as the mode of desire, the economy of consumption, and the new wave of sensibility. As this sort of microscopic arena has occupied the center of discourse, the private life - the everyday life, which was rare seen in the past, had an opportunity to be shown through the cinematic representation.
In addition, it is also related to the change of the 1990's Korean society that some of melodramas focused their theme on the individual issue out of family matters. In the traditional Korean melodrama, the sources of the sentimental style were conflicts with families, from the inner relationships of family, and between an individual and a family. While on the other, the post-1990's melodramas seceded from this kind of sentimental style, concentrating on not a family but an individual and his or her everyday life. For example, An Affair and Happy End seem to preserve the heritage which was consistently kept in the Korean melodrama. These movies are distinctive in the post-1990's melodramas in that they present the family issue as a subject matter. However, they also have a linkage with the contemporary melodramas because they concentrate on the daily marriage life. Furthermore, they show the characteristic tendency of the post-1990's melodramas in the endings that expose the hidden anxiety in the patriarchy.
Meanwhile, the 2000's Korean melodramas renew the excessive mode of melodrama by varying the time structure or intersecting different time zones. If crossing each other, mismatch, or haphazard coincidence was the typical melodramatic strategy for the audience's sympathy, the contemporary Korean melodramas replace the traditional mode of excess by the transformation of time structure.
For example, Failan and Over the Rainbow show the flashback structure that inquiries the unknown or forgotten past by intersecting the present and the past, eventually delivering narrative tension to the audience. Moreover, Ditto, II Mare, and Bungee Jumping of Their Own allow different dimensions of time cross each other through a mediator. As a result, the classical narrative around crossing of lovers becomes more ardent in this unrealistic time structure. While the melodramatic mode of excess appeared from violating the principle of classical realism, these melodramas expand themselves toward a sort of fantasy in the way of intersecting the past and the present beyond the reality.
In other hand, the changes of melodrama shown in the late 1990's and the early 2000's seem to be the genre attempt to address the contemporary audience's taste. So to speak, the transformation of melodrama was inevitable for the audience who began to feel bored by Ihe sentimentalism and the cliche of traditional melodrama. Therefore, the contemporary melodramas were willing to dispose the sentimental mode and capture the atmosphere of everyday life.
In addition, it seems to be an attempt to go beyond the old convention and appropriate other genre styles that these movies renew the melodramatic excess by building the new time structure. These melodramas present the new time structure in order to show what happened to him or her, how they will meet each other, or what will happen to him or her. In this way, they adopt the narrative of inquiry, just for they provide the tension, so to speak, the melodramatic suspense to the audience.
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