조폭코미디, 그들만의 리그-남성 판타지 연구

다국어 초록 (Multilingual Abstract)

Korea's latest box office boom shows the trend of filmmakers using Cho-Pok movie (Korean Gangster theme) as the main genre for treatment in their work. This popularization of the Cho-Pok genre is evident in not only the number of films based on this subject, but the large number of viewers who currently see these movies. This fact leads to the question of: Why is such a violent subject now being adopted as a main comic genre?
The objective of this study is to analyze and interpret the function of the Cho-Pok genre in terms of the relevance of its social function beyond the esthetic level, in particular, focusing on the gender politic role. In this context, the Cho-Pok comedies are the current manifestation of the genre combination rule which follows the popularization of the action/gangster melodrama/comedy of the last decade.
This study analyzes several socio-cultural facts as well as the ideological effects related to gender politics beyond the genres role in purely capitalistic terms Korea's recent economic crisis and the decreasing power of the male as a head of household. In this sense, the Cho-Pok comedies have the function of restoring maleness, and symbolize aggressiveness, dominance, violence and physical power. Rita Felski calls this tendency 'Nostalgia Paradigm', where bygone days are considered as ideal. In light of this, it is not surprising that Friend acts as the root of Cho-Pok comedy and is based in Busan in the 1970s and is introduced along the theme of once upon a time, during the happy days when four friends were together.
In this male-based fantasy, it seems that Cho-Pok Wife is a very different genre text. This is because the film presents the female figure as a gangster boss as an exception. At first glance it seems that this text expands the area of gender, but upon closer examination of the characters and narrative strategy, it is apparent that the female characters are divided into the pseudo female and the whore and are deeply influenced by male fantasy. The narrative is a combination of the femme fatale scenario and the gangster genre.
This study concludes that the influences behind the recent trends in Korean cinema are very much focused on male-centered, unbalanced gender politice. In light of this, Korean cinema should introduce a more balanced presentation of multi gender politics based on real life phenomena.

목차 (Table of Contents)

• Ⅰ. 들어가는 말
• Ⅱ. 폭력영화 전통과(하위) 장르로서의 조폭코미디
• Ⅲ. 향수패러다임과 남성판타지
• Ⅳ. 〈조폭마누라〉와 남성 판타지
• Ⅴ. 결론
• 참고문헌
• Abstract