2000년대 한국 스릴러 영화의 모성 재현 연구

A Study on the Representation of Motherhood of Korean Thriller Films in 2000s

This paper studies the Korean thriller films examining the representation of motherhood in 2000s, dealing with the movies like <Sympathy for Lady Vengeance>, <Princess Aurora>, <Diary of June>, <Seven Days>,<Mother>, <Midnight F. M>, <My Neighbor>, <Don’t Cry, Mommy> as the object of study. In Korean film industry, the thriller films had been considered as the miner genre, but they have been emerging as the key genre in 2000s. Especially, what is seen as the remarkable is the women as the protagonist, who finally resolve the problems and replace the place of male-hero which had been forbidden for women. Korean thriller films in 2000s are reflected people’s worry and fear about the social disability and instability. So their powerful action and violence “in the name of the mothers” is needed for the rescue of their children and reconstruction of the family while the disturbance and collapse of the public system of Korea is general. But this paper is critically focusing on the mechanism of operation of motherhood discourse in thrillers. In spite of ‘the return of women’meaning changes from ‘the victim/scapegoats’ to ‘the attacker’, it can be said that the thriller also functioned as the mechanism for women suppression. Paradoxically, their struggle and sacrifice is devoted to reinforcing patriarchal familism through gender discrimination and surplus representation. Meanwhile this paper finds the possibility of the new motherhood narrative of <My Neighbor>.