『헝거 게임』 읽기와 민주시민교육 : 고등학교 <영미문학 읽기> 수업을 위한 제언

이정화(Jung-Hwa Lee) 한국영미문학교육학회 2020 영미문학교육 Vol.24 No.1

This study means to offer some suggestions for reading Suzanne Collins’s The Hunger Games for democratic citizenship education in “Reading British and American Literature,” an elective course in High School. Responding to the increased emphasis on education for democratic citizenship as a cross-curricular learning theme, this paper posits that The Hunger Games provides ample opportunities for exploring the key concepts and values of citizenship education such as autocracy, democracy, power, fairness, care, co-operation, gender, and media literacy. Katniss Everdeen, the protagonist and narrator of The Hunger Games, chooses care, co-operation, and coalition where competition is the rule. Narrated from her 1st person point-of-view, the novel invites readers/students to share her confusion and uncertainty as she feels powerless while recognizing the injustice and the violence done to her and other tributes. The paper suggests that readers/students can appreciate the reward and the difficulty of becoming a citizen capable of care, co-operation, and critical thinking by actively evaluating her choices at different stages of the Hunger Games. After examining the ways in which The Hunger Games subverts stereotypical gender roles, I suggest that students should be guided to keep a critical distance from the voyeuristic audience of the Hunger Games who cheers for a “romantic” and “desirable” woman.

『헝거 게임』의 서술자와 주인공: 캣니스 에버딘의 다면적 정체성

김양순(Yangsoon Kim) 한국영미문학교육학회 2020 영미문학교육 Vol.24 No.1

The Hunger Games, by Suzanne Collins, has become “a literary and cultural phenomenon” since it was published in 2008; it was not only a commercial success but also a serious subject of academic discussion even before 2012, the release year of the adapted film, The Hunger Games. This study demonstrates that a major reason for the acclaim derives from the narrator and protagonist of this novel, Katniss Everdeen as a non-stereotypical female character. Unfolding through diverse narrative threads and her relationships with other characters, especially Gale, Pita, and Rue, this paper will argue for the enchanting characteristics of Katniss. The sixteen-year old Katniss is multifaceted: a hunter, a bread-winner, a negotiator, a warrior, a survivor, a potential rebel, a performer, an empathizer, and a healer. By undergoing the frighteningly hideous game, and by probing inward and outward, Katniss shows the value of other people’s dignity, and reveals her multidimentional identity. Significantly, she recognizes how “humiliating” and “torturous” the hunger games are, and how oppressive and unjust the Capitol’s power is. In spite of the novel’s cruel and ominous game in a vast outdoor arena, which appears to be inappropriate for teenagers, the implications of The Hunger Games can be educational and enriching primarily because Katniss Everdeen is appealing to the hearts of the youth beyond gender polarizations through her androgynous qualities, to encourage them with the suggestion, “Why don’t you just be yourself?” Katniss’s moral choices and independence in the midst of the difficult social fabric remain thought-provoking and resonant even after the end of The Hunger Games.

영화 ‘헝거 게임(The Hunger Games)’에 표현된 메이크업·헤어스타일 및 의상 분석캣니스 에버딘과 에피 트린캣을 중심으로

김정희,임은혁 한국인체미용예술학회 2018 한국인체미용예술학회지 Vol.19 No.4

This study aimed to figure out changes in Katniss Everdeen’s character image through makeup and type of Effie Trinket’s character image in the Hunger Games 1 and 2 and analyze the roles of makeup, hairstyle and fashion in the film narrative. For this, observation was performed using domestic and foreign literature records and videos, and characters were comparatively analyzed for makeup, hairstyle and costume. Then, study results found the following: First, the female character Katniss Everdeen revealed an image of fashionable high fashion with makeup and hairstyles which displayed modesty, calmness, activeness, aggressiveness, superiority and robustness through a makeover in the Hunger Games: Panem Rising. Second, Effie Trinket displayed an image of high fashion with artificial makeup and hairstyles in manmade, authoritative, exaggerative and satirical manners. Third, in the Hunger Games: Catching Fire, Katniss Everdeen delivered a leader’s image as a tough woman warrior with an active, aggressive and open-minded personality. Her makeup and hairstyles made the character more fashionable and active with great leadership. Lastly, Effie Trinket was expressed in artificial, ostentatious and exaggerated ways, maximizing the inflexible and fancy image. In addition, makeup, hairstyles and costuming showed an image of artificial high fashion. Therefore, makeup, hairstyles and costumes in film characters have a significant effect on fashion and makeup images among the general public even after the end of the film. This study confirmed that makeup, hairstyles and costuming in a film effectively deliver changes in film characters’ images, and, through Katniss Everdeen’s makeup, hairstyles and trendy high fashion in the Hunger Games, that makeup and fashion can be an efficient tool in film narrative.

『헝거 게임』 속 몸의 전유와 리얼리티 쇼의 정치 전략: “진짜야 가짜야?”

이수진 ( Sujin Lee ) 한국현대영미소설학회 2015 현대영미소설 Vol.22 No.3

This article explores the blurred boundaries between reality and the Reality TV Show in Suzanne Collin`s The Hunger Games Trilogy. The aim of the Reality Show is to show someone`s real lives without editing. However, there are no reality shows based on ‘only’ reality, and in this case, ‘show’ is much more highlighted to attract the viewers. In addition, there must be political strategies in the other side of the reality show. The bloody battle in the Hunger Games is performed in virtual reality. By the computer programs, the force field is established. This vicious battle to fight to death is broadcast live, the death is counted, and the dead bodies are displayed to imprint Snow`s brutal message. Katniss Everdeen and Peeta Mellark cooperate to win the game, first using the berries, next playing as star-crossed lovers. Katniss and Peeta use the features of reality shows in the cruel Hunger Games to survive. Peeta realizes the savage purpose of the game and lets Katniss know about it. Katniss tries to show that they are not the pieces of the game anymore through the beautiful and sorrowful decoration with flowers over Rue`s dead body. By their efforts, the solidarity in the districts is made, the wind of the change begins to blow, and at last Katniss becomes the symbol of the rebellion. By Snow`s death, the districts seem to have peace and freedom. However, Katniss is disturbed by the continuous nightmare, and Peeta is suffered from the ambiguous memory. Life lasts within the blurred boundaries between reality and image, between ‘real’ and ‘not real.’

영화 <헝거 게임>에 나타난 폭력과 통제의 몸

윤소영 국제언어인문학회 2014 인문언어 Vol.16 No.1

Suzanne Collins's Hunger Games Trilogy draws a lot of attention from the public. Among them, the first novel Hunger Games, filmed in 2012, shows the world of young adult literature through the relationship between violence and body. In particular, this novel puts an emphasis on the effect of violence conducted by the government or a nation, revealing the meaning of controlled adolescent bodies. Panem as a new-born nation has imperative and categorical power on its people. Its control power is phenomenal enough to classify the nation into 12 districts so that Capitol, their government, fully dominates them all. Such divisions reveal strategic confinement mechanisms to control the whole nation. Furthermore, they make a random choice of a boy and a girl out of every district to compete against other boys and girls in the most popular TV show, The Hunger Games. The governmental power for control is so huge that people cannot evade the shackle of their government. The comparison between haves and have-nots is abnormally apparent as if the relationship between two extremes looked like the one between puppets and humans. The rule of the game entitles winners to take it all. However, the only way to be a winner is tremendously deathward since they must kill each other by the time when the last survivor is left. Who the last survivor will be is of importance to show a certain possibility to stop adolescents’ joining in those nonsensical games. Even though the government wields controlling power and operates a panopticon to confine the adolescent bodies, Katness and Peeta overcome the limitation of the Hunger Games. It is possible that there will come a day when their dignity as humans is restored.

오징어 게임 속 여성 기호학 분석

양지유 ( Ziyu Yang ),주종우 ( Jongwoo Joo ) 현대사진영상학회 2023 현대사진영상학회논문집 Vol.26 No.2

Based on semiotics, this paper analyzes the female characters in Squid Game, which leads to the development trend of female characters in recent years. Squid games were compared to “The Hunger Games” in the U.S., “LIAR Game” in Japan, and “Animal World” in China. These four works have been influential in recent years. Through the comparison between works, the character of women in Asia is analyzed by combining semiotics. The lack and breakthrough of female characters in Asian dramas can be fully organized. There is also a direction for the future development of women’s roles in Asian film and television industry. The influence of Asian film and television industry in the global drama field is also expected to increase.

소설 「헝거게임」속에 내재된 반사회적 혼합 분석

김경희(Kim Kyounghee),김진영(Kim Jinyeoung) 인문콘텐츠학회 2016 인문콘텐츠 Vol.0 No.40

소셜믹스는 다양한 사회적 계층의 혼합을 유도하여 삶의 기회를 균등하게 제공하고 더 나은 물리적 주거환경을 만드는 것에 의미가 있다. 주택분야에서 소셜믹스는 19세기 후반에 등장하여 다양한 나라에서 적용되어 왔다. 이렇듯 소셜믹스는 지구촌에서 꼭 필요한 개념으로 자리 잡고 있으나 아직 확실한 성공 사례와 기준은 없는 실정이다. 꼭 필요하지만 소셜믹스가 잘 받아들여지지 않는 이유에 관해 한 가지 문제점을 인식하게 되었다. 왜 소셜믹스는 정신적 차원이 빠진 물리적이고 환경적인 측면에서만 논의 되는 것일까? 인간의 존엄성은 물질로 평가되어서는 안 된다고 수많은 책과 글귀에 있다. 하지만 그것은 그저 스쳐가는 의미 없는 지식에 불과하다. 그래서 자신을 보통사람이라고 생각하는 모든 이들에게 자극을 주고 싶었다. 소셜믹스의 반대 개념이라고 할 수 있는 전체주의 국가의 특성을 소설 ‘헝거게임’이라는 콘텐츠를 통해 일반인들에게 알리고 보통사람들이라고 생각하는 ‘캐피톨’ 시민이 결국 현대인의 자화상이 아닌지 살펴보고자한다. 이 시대는 지난 30년간 엄청난 변화가 있었다. 심지어 누군가는 신토불이(身土不二)조차 사라진 시대라고도 한다. 제 땅에서 난 것이 제게 잘 맞는다는 의미이지만 ‘제것’이 무엇인가? 대한민국은 ‘제 것’조차도 새롭게 인식하고 변화를 받아들여야 한다. 이글은 물리적 환경의 소셜믹스와 함께 정신적이고 감성적 영역을 포함한 소셜믹스를 실행하지 않는다면 진정한 소셜믹스는 이루어지기 힘들다는 사실을 알리기 위한 글이다. Social mix is a mixture of various social organizations offers made by equal chance at life and meaning to make a better physical living environment. Social housing mix was featured in the late nineteenth century have been applied in various countries. Social mix is necessary in the global village. But there are still certain practices and success criterion is the lack of alternatives. Know one about why problems that are not going very well with social mix. Why there is no social mix of the mental level, discussed only in physical and environmental aspects? A lot of books and phrases told me that he will be human dignity is not assessed as material. But it is just meaningless in the knowledge. So he wanted to give new impetus to all those who think the average person. Characteristics of the country can do that the opposite of totalitarianism and social mix that ‘The Hunger Games’ content through the novel that ordinary people to let ordinary peopleThink ‘Capitol’ will review whether a self-portrait of modern citizens. Our country has been huge changes for the past 30 years. Even someone who has a 身土不二 also known as a lost age. Native plants grow in the earth is best for their bodies, but what ‘mine’ means? The Republic of Korea ‘mine’ even newly recognize and accept the change. This article has social mix and go with mental and emotional range of knowledge and physical environments, including social mix if you don’t run a real social mix are to be exchanged. The text is to inform that it’s hard for you.

이상의 시 <공복->에서의 ‘좌ㆍ우’의 해석

성인수 한국언어문학교육학회 2015 한어문교육 Vol.32 No.-

Lee Sang released 28 poems written in Japanese in ‘Chosun and Architecture’ from 1931 to 1932. The series poems consist of six poems under the title of <Abnormal Reversible Reaction>, eight poems under the title of <Bird’s Eye View>, seven poems under the title of <Drawings of Third Angle> and seven poems under the title of <Architectural Infinite Hexahedron>. The difficulty experienced while working in the Japanese Government-General of Korea contributed to the series or line of the poems. The poem <Abnormal Reversible Reaction> expressed a yearning for Madame Charlotte Perriand, a French interior designer under the Japanese ruling. He described the situation surrounding him as 'Circle' and the effort to overcome the obstacle(circle) as 'straight line'. In <Fragmentary Landscapes>, he made a conclusion that “스틱크!(Lee Sang)” is “a snowscape which ▽ was finally exhumed and buried in.” It is interpreted as a pronouncement that Lee Sang can not go to France, considering the expression “he will forget the French woman symbolized as ‘▽’ by covering her with snow”. In <Game playing of ▽->, Lee Sang is looking for a woman of his dream, regretting her disappearance. He confesses that he is waiting for her telegram the vanished woman (▽) has yet to send. The “bent line” is a symbolic expression that he gave up going abroad(symbolized as ‘straight line’) because the line couldn't penetrate ‘circle’(obstacle), so it is bent and confined in ‘circle’ In <BOITEUX․BOITEUSE> the word ‘CROSS’ representing a cross can be read as evidence of torture. Arrested and tortured by the Japanese police due to ‘Incident X’ which occurred accidently, Lee Sang stricken with shock seemed to change the novel’s title to <December 12> in haste. He altered the novel’s plot so it now read “fleeing and returning home” and released poems written in Japanese to disguise his story and meaning. Lee Sang expressed his distorted fate under the Japanese colonial era as a “cripple”. The novel symbolizes two facts that he as a cripple was being falsely charged as an arsonist and expelled by the church he believed in. This paper is intended to reinterpret Lee Sang’s insufficiently interpreted poem <Hungerㅡ>. The poem is reinterpreted based on his daily and real life conditions at that time in 1931. It is believed that <Hungerㅡ> symbolizes ‘spiritual hunger and thirst' and hope and thirst for getting out of conflict and fight between two opponent parties. Lee Sang was expelled from the Japanese Government-General of Korea because he turned his back to Pro-Japanese Korean camp by denying a request of the Japanese Government-General of Korea. Lee Sang supported the independence movement group in Korea and the communist group upon their request. However, he was eventually broken away from those groups because he was falsely prejudged as having cooperated with Japanese police in the process of their mass arrest. Therefore, he was eager to escape from his position between the right and the left as well as the distress caused by being ostracized by the both groups. The agony was likely to result from the conflict between two rival parties, one is the nationalist camp and the left wing insisting on Korea's independence and the other is Pro-Japanese Korean camp and the right wing. The poem can be interpreted as a fervent hope for getting out of the agony.

『헝거게임』시리즈 속 젠더와 관련한 여주인공의 허구적 주체성 연구

김진옥 숙명여자대학교 아시아여성연구원 2019 아시아여성연구 Vol.58 No.1

This study investigates the construction of the heroine’s subjectivity in young adult literature, with a specific reference to Suzanne Collins’s well-known The Hunger Games series. The heroine’s subjectivity can be constructed in various ways through the lenses of notions such as race, power, violence, gender, class. However, this study explores the role undertaken by gender in the construction of the heroine’s subjectivity in young adult literature as demonstrated in the selected works. Since 2000 and with the publication of The Hunger Games series, the heroine has emerged from young adult literature in America. The protagonist of The Hunger Games series, Katniss is a heroine in a future dystopian society. Some critics suggest that she is depicted as a subjective, progressive heroine. However, Katniss is influenced by the society to which she each belongs: Pannem. Although the female protagonist is presented as a heroine bestowed with independent and voluntary subjectivity, her subjectivity bears clear marks of the expectations and ideals of the society to which she belongs. In other words, her subjectivity is socially constructed. The examination of the constructed subjectivity of Katniss in The Hunger Games in this study is based on Judith Butler’s theory. Gender has played a key role in the construction of Katniss’s subjectivity, with the heroines’s subjectivity shaped by two components: motherhood and tomboyism. Katniss undergoes a variety of motherhoods and then internalizes the motherhood of Hazle, Gale’s mother as Pannem’s idealized motherhood. Katniss also refuses the stereotypical female appearance and behaviors, thus acquiring a tomboyish character. The motherhood and tomboyism have an effect on Katniss’s constructed subjectivity. Therefore, the subjectivity of a 16-year-old girl, Katniss, is shaped by the expectations and ideals of the society to which she belongs. The heroine’s fictional subjectivity demonstrates that it is constructed under the external influence rather than her subjectivity having been made and formed by the heroine’s will. 본 논문은 수잔 콜린스의 헝거게임 시리즈를 중심으로 미국 청소년문학 여주인공의 주체성이 형성되는 양상을 젠더와 관련하여 고찰하는데 목적이 있다. 최근 미국 청소년문학에 등장하는 십대 여주인공들은 수동적이고 의존적이었던과거의 모습과 다르게 매우 독립적이고 주체적인 태도를 취한다. 이러한 변화는 십대여주인공의 주체성을 바라보는 다양한 시각을 형성했다. 기존에는 미국 청소년문학속 십대 여주인공의 주체성이 자유 의지에 의해 형성된 것이라는 시각이 주를 이뤘다. 그러나 청소년문학 캐릭터는 성인 작가의 가치관과 사회ㆍ문화적 이데올로기로부터자유로울 수 없다. 따라서 인물의 주체적 성향이 무엇으로부터 발생했으며, 그렇게 형성된 주체성이 과연 인물에 의해 주도적으로 완성됐는가를 살펴야 한다. 헝거게임 시리즈의 십대 여주인공 ‘캣니스’의 주체성은 모성과 톰보이즘 같은젠더 요소의 영향을 받는다. 캣니스는 자신이 속한 구역의 다양한 어머니상을 경험하면서 모성을 내재화하며, 생존을 위해 톰보이적 행동을 취한다. 이는 캣니스가 소속된사회 ‘판엠’의 이상과 기대가 스며든 결과물에 다르지 않다. 따라서 본고는 헝거게임시리즈의 십대 여주인공 캣니스의 주체성이 형성되는 방식 중에서도 젠더의 차원에주목하여 십대 여주인공의 주체성이 작품 속 사회의 영향 아래서 구성된 허구적 주체성임을 밝히고자 한다.

관객의 시선 앞에서 싸우는 여성: 『헝거 게임』 속의 행동과 연기

김예리 ( Yae Ri Kim ) 한국영미문학페미니즘학회 2012 영미문학페미니즘 Vol.20 No.2

This article investigates the possibility of representing a positive, strong and capable female hero who does not reproduce the masculinist ideology in the blockbuster film through the examinations of The Hunger Games (2012). The Hunger Games is a recent Hollywood blockbuster, which is known for its strong female protagonist and has achieved international commercial success. The article demonstrates that The Hunger Games presents the female hero who neither is a phallic figure in the guise of a woman nor is reduced to a sexual object by analyzing on the two aspects of the film: (a) the multifaceted role of the protagonist which often function simultaneously as the subject of action and the object of gaze; and (b) the performative nature of the protagonist`s actions that oscillate between the extreme masculinity and the typical femininity. While the dual role of the protagonist invites the audience to identify with her while looking at her as a spectacle, her gender-flexible performances expose the contingent relationship among anatomical sex, gendered roles, and the identity of hero. The article concludes that, despite its limitations, The Hunger Games indicates the possibility of the entertainment cinema that does not reproduce the existing gender hegemony. (197 words)