한국단편코미디의 희극전략과 가족 이데올로기 연구

A Study on Korean Short Comedy Film's Strategy and Family Ideology

Sort films are independent of capital. A characteristic of capital unfolds a possibility of counter cinema based on short film's experimentalism and resistibility. Short film as counter cinema has a function of aesthetic and political avant-garde. Short film's becoming-genre has been received as a surrender of commercial film caused by a failure of developing creative film language and communication with audience. Melodrama and comedy have formed a stream in a short film area, which has a big portion in independent film. I hope my essay will help to examine short comedy's theme and style. Korean comedy film became a main genre in 1990s after passing to a heyday in 1960s, a slack in 1970s, and a pause in 1980s. Short comedy has formed genre genealogy from Yook Sang-hyo's Tragic Tropic to Kim Hee-jae's Polyandry : An upset of female Gender. Short comedy's strategy is mainly using punishment for uncomfortableness with exposures of hypocrisy and exaggerations through travestying a patriarch and view behind. Short comedy brings to a conclusion with settling problems and looking for an alternative family. In this case, problems are generally solved by a direct attack toward a patriarch and a reconciliation between family members. Most films are absorbed in a patriarchy ideology with obedience to a man or a father. However, fathers are travestied by uncomfortableness and hypocrisy, and not only degenerate into objects of laughing but also are represented as figures who should be emasculated at the same time. Korean short comedy films reveal gaps between reinforcement and fissure of a patriarchal family ideology.