한국 멜로드라마 계보에서의 로맨틱코미디

윤성민 동국대학교 영상문화콘텐츠연구원 2015 영상문화콘텐츠연구 Vol.0 No.-

한국 멜로드라마 계보에서의 로맨틱코미디윤성민장르라는 특수한 특성을 감안한다면 영화에 대한 장르적 접근은 텍스트와 컨텍스트를 아우르는 유용한 방법론이 아닐 수 없다. 장르적 접근이라는 방법론을 통한 영화 연구에서 생산자와 관객, 그리고 영화 텍스트는분리되어 존재할 수 없다는 것 또한 분명한 사실이다. 현재 한국 영화의장르적 양상은 전통적인 관습들과 코미디가 결합한 로맨틱 코미디로써멜로드라마의 계보를 잇고 있다. 게다가 과거 멜로드라마의 비판적 요소들을 장르적으로 극복하고 있으며 오히려 더욱 진보적인 텍스트로 평가될 수 있는 발판을 마련하였다. 여기에는 관객의 힘이 크게 작용하였을것이다. 전통적인 관습들로 이루어진 멜로드라마를 관객들은 원하지 않았고 이를 극복하기 위해 시도되었던 일련의 소재주의 영화들도 그 명맥을 오래하진 못하였다. 대신 전복적인 캐릭터를 통해 관객들은 쾌감을 느끼고 그러면서 자신들도 인식하지 못하는 사이 영화 속에 자리 매김한 멜로드라마의 관습들도 자연스럽게 받아들이게 된 것이다. 즉, 로맨틱 코미디는멜로드라마의 계보 유지를 통해 안정성을 보장받고 전복적인 캐릭터를통한 웃음은 관객을 통하여 사회/ 문화적 배경을 영화 속에 투영하는 장르라고 보아야 할 것이다. Study on Romantic Comedy of Korean Film Industry Yun, Sung Min Romantic Comedy remains one genre where the film industry, the casual moviegoer, and film scholars all agree regarding classification. That is producers overtly markets certain films as romantic comedies and we accept that label as an accurate description. Romantic comedy films are films with light-hearted, humorous plot lines, centered on romantic ideals such as that true love is able to surmount most obstacles. One dictionary definition is a funny movie, play, or television program about a love story that ends happily. Another definition states that its primary distinguishing feature is a love plot in which two sympathetic and well-matched lovers are united or reconciled. Romantic comedy films are a certain genre of comedy films as well as of romance films, and may also have elements of screwball comedies and stoner comedies. Some television series can also be classified as romantic comedies.

미국 영화 〈프로포즈〉에 나타난 로맨틱 코미디의 장르적 관습과 관객의 반응

송민호(Minho Song),염종희(Chonghee Youm),우정권(Jeonggueon Woo) 한국콘텐츠학회 2013 한국콘텐츠학회논문지 Vol.13 No.3

본 연구는 할리우드의 최근 로맨틱 코미디 영화인 〈프로포즈(2009)〉를 대상으로 하여 미국 할리우드 로맨틱 코미디 영화의 장르적 관습이 관객에게 수용되는 데 있어 관객의 국적이나 젠더가 그 수용 양상의 차이에 어떤 영향을 끼치고 있는가 하는 문제를 실증적으로 확인하고자 시도하였다. 할리우드 로맨틱 코미디 장르는 대부분 남녀 배우가 드러내는 매력을 중심으로 하여, 이들이 만나고 헤어지는 어느 정도 관습화 된 플롯 위에 전개하는 특징을 갖고 있다. 영화 〈프로포즈〉 역시 이러한 관습화된 플롯 구조를 한편으로는 따르면서, 한편으로는 변주하고 있다. 본 논문에서는 영화 〈프로포즈〉에 등장하는 ‘배우’와 ‘등장인물’이라는 요소와, 할리우드의 일반적인 로맨틱 코미디 플롯에서 ‘사랑의 완성’으로 제시되는 ‘결혼식’과 ‘프로포즈’라는 요소가 한국과 미국이라는 국적과, 남성과 여성이라는 젠더에 따라서 어떤 다른 선호가 나타나는가 하는 바를 관객 반응을 묻는 설문조사와 통계를 통해 살펴보았고, 관객이 지향하는 가치들 사이의 상관성 분석을 통해 드러나는 의미를 해명하였다. This study is on Hollywood’s latest romantic comedy movie 〈The Proposal(2009)〉, attempted to identify whether nationality or gender difference of the movie audience is affecting on their acceptance to the genre characteristics of Hollywood’s romantic comedy. Most of Hollywood’s romantic comedy movies are centered on attraction of female and male actors and its’ formulated plot (boy-meets-girl, boy-loses-girl, boy-gets-girl structure). Although the movie 〈The proposal(2009)〉 is following the formulated romantic comedy plot, it shows a variation from the typical romantic comedy genre. In this thesis, based on audience research data, statistics and interrelationship analysis on audience value orientation, we elucidate how Korean and American, Female and Male movie audience have different preference to actors and characters in the movie 〈The Proposal(2009)〉 and representation of archetypal Hollywood romantic comedy happy ending such as propose and wedding scenes.

한국 멜로드라마 계보에서의 로맨틱코미디

윤성민(Yun, Sung Min) 동국대학교 영상문화콘텐츠연구원 2015 영상문화콘텐츠연구 Vol.9 No.-

장르라는 특수한 특성을 감안한다면 영화에 대한 장르적 접근은 텍스트와 컨텍스트를 아우르는 유용한 방법론이 아닐 수 없다. 장르적 접근이라는 방법론을 통한 영화 연구에서 생산자와 관객, 그리고 영화 텍스트는 분리되어 존재할 수 없다는 것 또한 분명한 사실이다. 현재 한국 영화의 장르적 양상은 전통적인 관습들과 코미디가 결합한 로맨틱 코미디로써 멜로드라마의 계보를 잇고 있다. 게다가 과거 멜로드라마의 비판적 요소들을 장르적으로 극복하고 있으며 오히려 더욱 진보적인 텍스트로 평가될 수 있는 발판을 마련하였다. 여기에는 관객의 힘이 크게 작용하였을 것이다. 전통적인 관습들로 이루어진 멜로드라마를 관객들은 원하지 않았고 이를 극복하기 위해 시도되었던 일련의 소재주의 영화들도 그 명맥을 오래하진 못하였다. 대신 전복적인 캐릭터를 통해 관객들은 쾌감을 느끼고 그러면서 자신들도 인식하지 못하는 사이 영화 속에 자리 매김한 멜로드라마의 관습들도 자연스럽게 받아들이게 된 것이다. 즉, 로맨틱 코미디는 멜로드라마의 계보 유지를 통해 안정성을 보장받고 전복적인 캐릭터를 통한 웃음은 관객을 통하여 사회/ 문화적 배경을 영화 속에 투영하는 장르라고 보아야 할 것이다. Romantic Comedy remains one genre where the film industry, the casual moviegoer, and film scholars all agree regarding classification. That is producers overtly markets certain films as romantic comedies and we accept that label as an accurate description. Romantic comedy films are films with light-hearted, humorous plot lines, centered on romantic ideals such as that true love is able to surmount most obstacles. One dictionary definition is a funny movie, play, or television program about a love story that ends happily. Another definition states that its primary distinguishing feature is a love plot in which two sympathetic and well-matched lovers are united or reconciled. Romantic comedy films are a certain genre of comedy films as well as of romance films, and may also have elements of screwball comedies and stoner comedies. Some television series can also be classified as romantic comedies.

베르디 오페라 『폴스타프』의 풍자극에서 낭만희극으로의 전이

박정근(Jeongkeun Park) 한국셰익스피어학회 2010 셰익스피어 비평 Vol.46 No.3

Verdi composed his comic opera, Falstaff, on the basis of Boito’s Falstaff adapted from Shakespeare’s The Merry Wives of Windsor. Verdi asked Boito to change the original work into a tighter structure for operatic effects which should be shorter and more passionate because of the characteristic of opera. Particularly, Boito omits or changes some scenes and characters in Falstaff to create his original comic effects. His work can be classified not only as ‘satire’ of major plot focusing on punishing immoral Falstaff, but also ‘romantic comedy’ of subplot focusing on the romance of Fenton and Nanette. Boito changes the title of The Merry Wives of Windsor into Falstaff in order to concentrate on Falstaff who should be satirized and punished as a scapegoat for purging the hypocritical patriarchy. Falstaff tries to solve his financial problem of a degenerated knight by making love with rich women such as Mrs. Ford and Mrs. Page. He dares to send his love letters with same contents to these women simultaneously. However, his conspiracy is known to merry wives of Windsor, so that they plan to punish him by means of feministic sisterhood. Mrs. Quickly seduces Falstaff to come to the house of Mrs. Ford by informing him of her acceptance of his love. However, he comes to be threatened by the violence of Ford who doubts about his wife's chastity. Falstaff is thrown away infamously to the River Thames covered with dirty clothes in the basket for his survival. The love affair of Fenton and Nanette develops as the subplot of romantic comedy together with the major plot of satire at the same time. In spite of objection of Ford, Nanette and Fenton enjoy their pure love behind the folding screen even in the violent scene of Ford's searching out the lover of his wife. Fenton’s love is very pure in comparison with that of original work of Shakespeare, which can be evaluated as pure model of romantic comedy. In the original work, he shows his secular greed for Ann's inheritance from her father. The romantic comedy of Fenton and Nanette takes place of the satire of Falstaff in ‘The Herne the Hunter Play.’ After the punishment of Falstaff through the teasing of the community, Mrs. Ford plans stealthily to lead Fenton and Nanetter to marriage against Ford's strategy by which Dr. Cajus is intended to marry Nanette by patriarchal authority of Ford. Dr. Cajus is completely teased after taking off the mask of Bardolf who has been thought to be Nanette. Conclusively, romantic lovers and merry wives manage to win the game of marriage with conservative men who regard marriage as political dealing. In the last part of the opera, Nanette asks the forgiveness of her father which is needed to create festivity and reconciliation of marriage. Also, Ford invites Falstaff to the festivity of his daughter's marriage as a romantic comedy. At the last scene. this satiric comedy is changed into typical romantic comedy in spite of overwhelming correction of major plot.

「두 번의 결혼식과 한 번의 장례식」퀴어하지 않은 퀴어 로맨틱 코미디

김수연 ( Soo Yeon Kim ) 영미문학연구회 2012 안과 밖 Vol.0 No.33

In an interview with KIM CHO Kwang-soo, one of the few openly gay filmmakers in South Korea, he dubs his first feature film, Two Weddings and a Funeral (TWAF), happy queer romantic comedy. In contrasto to the bleak tradition of Korean queer cinema, TWAF hopes to relay toe message that queers are not, to borrow from the director, social problems and can have a romantic and happy life this film`s combination of stereotypical gay characters and the stock narrative of the romantic comedy genre, however, leaves the audience with an odd question:Is there anything queer in this film? This essay undertakes two tasks. First, by clarifying the term queer as developed by queer theorists since the 1990s, my essay argues that TWAF`s assimilation to mainstream heteronormative society is in diametrical opposition to queerness. If the core of queerness lies in its radical challenge to the interlocking ideology of late-capitalism and cultural-imperialism in the light of sexuality, TWAF is not interested in taking issue with the oppressive norm of heterosexuality. Inasmuch as this film integrates attractive-looking and socially successful gay protagonists into the Law of monogamy, TWAF fails to destabilize the Lacanian Symbolic and remains far from queer. TWAF`s failure to be queer in favor of a mindless happy ending presents itself in the trope of romantic comedy as well. Defined as a genre about citizenship, romantic comedy is all about containing antisocial desires in the Law of middle-class heterosexual monogamy. The latter part of this essay traces the ironic ways that TWAF`s celebration of wedding causes this so-called queer romantic comedy to be neither a thought-provoking queer film nor an intriguing romantic comedy. In portraying gay characters as one-dimensional good citizens-unthreatening and palatable to social order-and marrying them off in a romanticized yet legally void wedding. TWAF erases the diversity and singularity of/within gay community and turns gay people into harmless minorities who strive to he accepted and tolerated by mainstream society.

점령기 일본의 ‘도회희극’에 나타난 전후민주주의와 아메리카니즘

구민아(Ku, Min-Ah) 동국대학교 영상미디어센터 2017 씨네포럼 Vol.0 No.27

본 연구는 점령기에 등장한 일본의 로맨틱 코미디 ‘도회희극’을 분석한다. 패전 후 미군 점령기(1945~1952)에 GHQ는 남녀평등에 기반을 둔 자유연애를 계몽의 과제로 제기하고 ‘연애영화’의 제작을 장려했다. 하지만 ‘입맞춤 영화’를 비롯해 GHQ의 지시로 만들어진 연애영화는 보는 이로 하여금 민주주의를 생경하고 이질적인 것으로 느끼게 했으며, 이로 인해 당시의 평론가들로부터 비판을 받았다. 그에 반해 도회 희극은 당시 민주주의의 교과서로 여겨졌던 미국영화의 세련된 스타일, 영화 속의 미국식 생활방식을 찬미하는 맥락에서 등장했다. 도회희극이라는 용어가 처음 등장한 1950년 무렵, 도회희극은 오늘날 로맨틱 코미디로 일컬어지는 미국영화를 비평하는 맥락에서 사용되었다. 하지만 이후 미국의 도회희극과 유사한 특징을 지닌 일본영화를 비평하고 선전하기 위해서도 사용된다. 도회희극의 이야기 구조, 도시라는 공간, 자유연애라는 소재, 그리고 ‘도회희극풍의 여성’이라 불린 인물상은 당시 전후적, 민주주의적인 것으로 여겨졌다. 이 요소들의 결합으로 만들어진 도회희극은 점령기라는 역사적 상황 속에서 패전이라는 역사적 잔해와 교차하며, 패전의 치욕을 극복하고 민주적 사상을 내면화한 상상의 아이덴티티를 제시해 관객의 상상력을 자극했다. 그렇지만 도회희극의 탄생이 일방적인 미국화를 의미한 것만은 아니었다. 도회희극에 관한 당시의 비평에서는 미국의 지배력으로부터 자유로울 수 없었던 역사적 현실 속에서 일본인들이 전후 일본의 근대화를 바라보는 이중적인 시선을 발견할 수 있다. 이처럼 패전의 기억과 미래의 희망을 포괄하는 새로운 아이덴티티가 사회구성원의 인식을 형성해가는 과정을 도회희극의 분석을 통해 고찰한다. This study analyzes Japanese romantic comedy ‘urban comedy’ which appeared in the occupation era. After Japan’s defeat in the World War II, GHQ raised free love based on gender equality as a task of enlightenment and encouraged to produce ‘romance film’. This included ‘kissing films (seppun eiga)’ displaying expressions of affection. Kissing films were made to educate public with the ethos of ‘free romance’, ‘freedom of love’ and ‘freedom of expression’ in films. However, those films are criticized for deviating from the purpose of democratic enlightenment. On the contrary, urban comedy appeared in discourse as a category for admiring the sophisticated atmosphere and American lifestyle in American films, which was considered a textbook of democracy of the time. The term urban comedy was initially used to refer to American films with certain common elements, but it later came to be used to criticize and promote Japanese films that shared similar features with American urban comedy. The narrative structure, the urban setting of the story, the subject of free romance, and the figure called ‘urban comedy-style woman’ were discussed as both postwar and democratic at the time. Urban comedy, a combination of these elements, presented the Japanese with a new identity that either overcame or concealed the memory of defeat in the war and offered an imagination that the Japanese people had internalized democracy. However, the birth of the urban comedy does not just mean unilateral americanization. In the criticism of the urban comedy, we can find a dualistic viewpoint of Japanese intellectuals looking at the modernization of postwar Japan in the historical reality that was not free from US dominance. Thus, this study will explore how the citizens’ cognitions are shaped by the new identity which includes memories of defeat and hopes for their future.

하디의『푸른 숲 나무아래』에 나타난 ‘낭만적 희극성’

사공철(Sagong, Chaul) 건국대학교 스토리앤이미지텔링연구소 2017 스토리&이미지텔링 Vol.14 No.-

본 논문의 목적은 문학가로서의 토마스 하디(1840∼1928)를 ‘희극 작가’라는 관점으로 재조명 해보려는 것이다. 하디의 대부분의 다른 소설들과는 달리 『푸른 숲 나무 아래』(Under the Greenwood Tree, 1872)는 작품 전체에 화목하고 활기 넘치는 분위기를 보여주고 있다. 2장에서는 멜스톡 공동체와 희극성, 3장에서는 딕과 팬시의 남녀관계와 희극성을 고찰한다. 전체적인 줄거리는 등장인물의 해학적인 대사와 희극적인 전개로 이루어져 있다. 따라서 이 작품은 비극적인 어떠한 심각한 문제도 드러나지 않는다. 단지 멜스톡 공동체 사회의 전통을 보존하면서 도시와 시골의 가치 충돌과 신.구 사회의 갈등에 대한 조화를 강조하고 있다. 이러한 보존과 조화의 저변에 자리한 희극성은 두 남녀 주인공의 결혼을 통해서 정점을 이룬다. 기존의 구질서를 상징하는 주인공 딕과 신질서를 추구하는 여주인공 팬시와의 행복한 결혼은 멜스톡 공동체의 변화를 야기하는 불안의 조짐을 진정시키는 데 결정적 역할을 할 뿐만 아니라, 온 마을의 사람들이 참여하는 화합의 장이 되게 함으로써 밝고 명랑한 사회를 이룩하게 된다. 이런 점에서 『푸른 숲 나무 아래』는 낭만적 희극 작품에 속하며 이 작품을 통해서 하디는 희극 작가적인 면모를 여실히 보여준다. The purpose of this article is to study Hardy’s ‘Romantic Comedy’ in Under the Greenwood Tree(1872). Hardy has often been called a pessimistic writer in a popular sense. However, Unlike Hardy’s most novels, it shows high-spirited mood of plotting, which is constructed along the humorous lines and the comic developments of characters. It has no shade of tragedy and raises no serious issues, putting emphasis on the preservation of the rural community and its tradition, the harmony of the clash between the urban and rural values, and the conflict between the old and new social. Their preservation and harmony keep ‘Mellstock Community’ from undergoing rapid changes. ‘Mellstock Community’ remains bright and cheerful through the happy endings and marriage of young couple’s protagonists, Dick and Fancy. In this respect, Under the Greenwood Tree belongs to a ‘Romantic Comedy’ and shows that Hardy is a comic writer as well.

1990년대 이후 한국영화에서 ‘코믹 모드’의 문제

김소연(Kim, Soh Youn) 한국영화학회 2014 영화연구 Vol.0 No.60

This study is to clarify why and how Korean society, Korean mass culture and Korean cinema have been captivated by the imperative of ‘the comic’as the hegemonic affect especially during the early 1990s. It was historically conditioned by the rapid paradigmatic shift from the “the era of revolution” to “the era of postmodernism” especially after the partial success of June uprising in 1987 and the fall of East European socialist bloc. Particularly depending on the notion of transitional period and Zupan?i?’s conception of the minimal difference between the sublime and the comic, this study asserts that the romantic comedy films planned and produced by the newcomers in the film industry showed the characteristics of the transitional period, which refers to the oscillation of (un)conscious desire between the 80s’values like true and pure love and the 90s’ones like wealthy and classy lifestyle for petit-bourgeois professionals. According to Zupan?i?, there are two kinds of comedy: the subversive one and the conservative one. The former can be achieved by preserving the gap or the minimal difference between the sublime and the comic (or trivial), but the latter uses the fall of the sublime into the trivial to make people laugh. The former shares the psychoanalytical structure with love because we love somebody not just because of her transcendence but also because of the approachability toward her through the trivial. Korean romantic comedy films in those days can be interpreted as having both tendencies because their common narrative-lines covering a couple’s marriage, separation and reunion provoke the suspicion of love as well as the belief in love. That is why the films can be categorized as containing the transitional characteristics.

셰익스피어의 낭만희극과 웃음의 사회적 기능

강석주 한국셰익스피어학회 2018 셰익스피어 비평 Vol.54 No.2

In Shakespeare’s romantic comedies, laughter is not a means of mocking or giving instruction, but a means of giving pleasure and joy. The dramatic worlds of A Midsummer Night’s Dream and The Twelfth Night involve the crisis of suffering and pain. But laughter makes them forgettable, and plays the role of increasing the pleasure and joy celebrating the love and marriages of lovers. This laughter does not come from pleasure but coexist with pleasure. Shakespeare uses the festive elements, which are often regarded as the means of resolving the discontents and pain in society, in order to extend the function of laughter in his romantic comedies. Sometimes laughter in Shakespeare’s romantic comedies stands on the border of suffering and happiness, it is taken as a means to feel the freedom from social restraint. However, Shakespeare’s laughter is different from Bakhtin’s carnival laughter. Shakespeare’s romantic laughter does not have the power to change the society, because it is unrealistic. It is based on fantasy, not on reality. Laughter caused by magic or illusion has the essential limit. Many characters of Shakespeare’s romantic comedies are the victims of illusion. When we laugh at the characters who pursue what they cannot get, we also can be the objects of laughter.

『로미오와 줄리엣』 : 희극과 비극의 대비와 조화

신웅재(Woong-Jae Shin) 한국셰익스피어학회 2003 셰익스피어 비평 Vol.39 No.1

Romeo and Juliet differs from the other Shakespearean tragedies in that it emphasizes both good fortune (or the pleasures of life) and misfortune (or the pains of life) equally. This play celebrates Romeo and Juliet's joyful love as much as it laments their tragic death. It is a play with mixed comic and tragic elements, which proceeds happily like Shakespeare's romantic comedies in its first half but turns out tragically in its second half. Also, the first comic half carries ominous forebodings of catastrophe while the second tragic half is mingled with comic scenes, so that both comic and tragic elements can appear alternately (or simultaneously) throughout the play. This paper explains in detail such tragicomic structure, examining its effects on the play's themes, plots, characters, atmospheres, and overall dramatic effects and also discussing how the unique structure illuminates the meaning of the playas a whole. The tragicomic structure of this play achieves a variety of effects. First of all, it gives the audience a very colorful and exciting experience of not only appreciating both tragedy and comedy within a play, but also watching the continuous reversals of events and atmospheres between comedy and tragedy. Second, as the play changes in genre from comedy to tragedy, its main characters grow mature and strong and the roles of its secondary characters become serious and complex, which adds zest and artistic merit to the play. Also the tragic reversal in the play, occurring after the whole process and outcome of the previous comic action, evokes a greater sense of woe than in other tragedies. Conversely, as the tragic sense grows deeper, so the comic vision underneath the tragic consequence-that is, the reconciliation between the two antagonistic families and the prospects of peaceful order in Verona-becomes more valuable and nobler. The coexistence and intersection of the comic and the tragic in the play thus produce the synergy effect of enhancing each other by contrast. The tragicomic structure of the play reflects both the bright and dark sides of life. It also shows the ironic fact of life that happiness causes deeper sorrow which in turn helps to bring greater pleasure. Man, like the whole action of the play, is born to experience the ups and downs of fortune and doomed to die in the end. This play suggests that the best way for man to cope with the tragic destiny should be to lead his life with courage and dignity and sublimate his inevitable death into a noble and valuable act (or sacrifice) like Romeo and Juliet, whose deaths bring reconciliation and peace to Verona. The sense of spiritual triumph arising from this brings an affirmative view that life is worth living despite the hostility of its fate, which is a comic vision of life in a broad sense. In this respect, the tragicomic structure of this play points to the dialectic harmony in which comedy is reversed into tragedy that in turn brings forth comedy.