북한영화에서 재현되는 "여자다움"과 그 의미에 대한 연구

• 영문명: The Femininity Represented in North Korean Movies and Their Meanings
• 발행기관: 이화여자대학교 한국여성연구원
• 저자명: 변혜정(Byun Hye-Joung)
• 간행물 정보: 『여성학논집』제16집, 169~201쪽, 전체 33쪽
• 주제분류: 사회과학 > 여성학
• 파일형태: PDF
• 발행일자: 1999.12.01

영문 초록

This paper analyzes the femininities represented in North Korean films, from a position which recognizes the realities of the production of North Korean films, including the propagandizing aims of the regime in the efforts to complete the socialist revolution. I examine the processes the femininities represented in these films appear, and at what power relations are working therein. It is important to consider these aspects because 'femininity' is reproduced in accordance with people's actions and thoughts about the political economic system, and the cultural and emotional aspects which are located in the discursive system of film, and which have the established social regulations and are diversely diffused. This is to say, that the social agency of film through which the cultural meanings of North Korean society are produced and reproduced, also produce femininities. Through these assumptions the following results were gleaned from the research. The femininities in North Korean films exist in the name of the embodiment of national spirit and socialist ideology in order to maintain the power relations which legitimate the system. Looking comprehensively at the roles of the characters appearing in the films and the story lines, the fundamental notions running throughout each film is the reproduction and maintainence of aspects of North Korean militarist society: the idol worship of Kim Il-Song and his son Kim Chung-Il, the desire to ensure the people's loyalty to the state and it's leaders, other propaganda, labor instigation and ideological training. In order to accomplish this, the women are represented as objects expressing indignation and fury at capitalism and imperialism in anti-US or anti-South Korean sentiment, in different roles as active revolutionaries, workers, mothers and wives etc. Another strong theme appears in the clear representation of a rigid gender division structure within the home and family, disseminated in order to maintain the socialist family. Following the stagnation in socialism, traditional women engaged in such housework activities as sewing, ironing, dish washing and child care were more greatly emphasized under the name of 'the embodiment of the national form'. These knowledges which in this way compliment the morals and common sense of North Korean society, are related to the specific notions concerning the natural, the moral and the good, necessary for the socialist revolution. These concepts emphasize a 'natural temperament' aspect of femininity and of masculinity in specific forms regulated by society. The temperament of femininity is continuously maintained and reproduced through flexible meanings which produce the communist woman revolutionary. However, it is certain that in accordance with changes in policy which respond to changes in the power structure in North Korea, international relations and social economic conditions, the composition of femininity also changes. Due to the rhetoric of the early socialist period the 'alternative femininity' which did not appear in the early period, was established as an important element in the construction of femininity as socialism became more secure. What became different in this way of constructing femininity was not only changes in the context which surrounded the films themselves, but is also possibly the result of changes made for the audience who were watching the films. The viewers of the films are not simply the passive receptors of ideas. North Korean society is of course, as a socialist society, a thoroughly regulated society. And distressingly, recognition of women's problems in North Korea is exceedingly low. However, despite this we can not simply presume that all women are affected in the same way by the methods of control employed in socialist countries. Even looking at the history of the past, the power of influence in the system itself has been flexible rather than fixed. Moreover contemporary North Korean society can

목차

Ⅰ. 들어가며

Ⅱ. 북한의 영화정책

Ⅲ. 북한 영화의 '여자다움'의 구성과 변화

Ⅳ. '사회주의' 여자다움의 재현

Ⅴ. '또다른' 여자다움의 재현 : 민족적 형식의 구현

Ⅵ. 북한여성의 삶과 여자다움의 재현

Ⅶ. 결론 및 남은 과제 : '여자다움'의 공통성과 통일 한국

참고문헌

Abstract