장르, 헤게모니 그리고 관객

다국어 초록 (Multilingual Abstract)

Studying films generically requires us to prioritize the similarities between texts rather than their individual differences. The conventions shared between different films in a genre are often disparaged by being referred to as 'a formula', and popular films are then labeled 'formula art' by critics. I suggest that this distinction is not just between the spectrums of conventions, but between highbrow and lowbrow art with all the value judgments that those metaphors imply. I, therefore, attribute some of the distaste for action heroines in two of recent Korean films. 'Sassy Girl' and 'My Wife is a Gangster' to a class-based, high-cultural attitude toward the popular cinema.
The problem with this purely textual definition of genre, however, is that it tends to miss other important elements in film. Thus, I propose to extend the concept of genre to include not only other texts in the genre, but also between text and audiences, text and producers, and producers and audiences. What emerges in this new conception of genre is the link between economy and culture. That is, genre serves the dual needs of a commodity: On the one hand standardization and familiarity, and on the other, product differentiation. But genre is more than economic. It is cultural as well.
In this study, I invoke 'hegemony' in order to investigate this dual concern of economy and culture. Far from endless mere repetition, the film industry is always on the look-out for a new angle, making genre categories quite flexible. This is because the conventions of genre are under constant pressure for change as social practices and newly emerging audiences put pressure on representation. The final conclusion I make in this paper is, then, the changing social context determines that genre cannot exist by mere repetition, but has to engage with difference and change, in a process of negotiation and contest over representation, meaning and pleasure.

목차 (Table of Contents)

• 장르와 상호텍스트성
• 장르와 대중문화
• 장르 변화와 대중 영화
• 영화와 헤게모니 투쟁
• 다의적 텍스트로서의 대중 영화
• 미학적 의미와 사회적 의미의 차이
• 팬덤과 열린 텍스트
• 장르 영화의 정치학
• 참고문헌
• Abstract