마쓰모토 세이초 원작영화 속 ‘악녀(悪女)’ 표상: 영화 <얼굴(顔)>을 중심으로 (Seicho Matsumoto's Representation of “Evil Woman” in the Original Movie—Focusing on the Movie “Face”)

서지정보

· 발행기관 : 문학과영상학회
· 수록지 정보 : 문학과 영상 / 24권 / 1호 / 143 ~ 175페이지
· 저자명 : 정주미

초록

Seicho Matsumoto is a master of postwar Japanese socialist mystery novels. One of the reasons why Seicho’s mystery novels are gaining popularity among Japanese people is that the motives of the suspenseful mystery novels are found in post-war problems or psychological problems as a human being. It is because they are boldly dealing with organizational corruption, etc. Seicho’s mystery novel was also made into a movie at the same time and enjoyed great popularity.
Although Seicho’s first original film, Face, did not receive good reviews from film critics, it received good reviews from audiences at the time, both for being Seicho’s original film and for being a suspenseful film.
The male protagonist changes into a female protagonist, and the appearance of several other new characters from movie stars to top models gave birth to a new suspense film with different meanings from the original.
In it, the main character, Akiko, is a main character that is not in the original, but has the aspect of a western ’villain’ among Seicho’s original films, which is very similar to the femme fatale of film noir that was popular in the 1940s. In addition, it visualizes the social image of the era fascinated by American and Western things in Japan’s post-war society, and at the same time, the duality of the femme fatale villain Akiko, that is, the fact that she is a Japanese ’villain’ that is difficult to define simply as a femme fatale is also important.
Akiko overlaps with the female characters often seen in other Seicho works. After the war, the rural villagers who are hit by a poor life and move to Tokyo, but their dreams are only dreams and become moths in Tokyo’s slums and dark areas, and they become criminals without even realizing their dreams. Street woman Pangpang, second wife, maid, and bar clerk in Ginza The women in these Seicho works are neither beautiful nor young women. However, after the war, it is linked to the structural corruption of Japanese society, and in the end, it has a tragic life. The women and Akiko in these Seichō original novels are similar. However, the fact that she is a beautiful young woman is in direct contact with Western femme fatale, American culture, and reality outside the frame.
Seicho’s first original movie Face imitates a suspense film with a sophisticated western image with Akiko, an urban villain, with a femme fatale image, but through Akiko’s past and surrounding people, It can be said that it is a work with a double connotation, allowing you to look behind the scenes of Seicho-style villainy and Seicho-style before and after.

영어초록

Seicho Matsumoto is a master of postwar Japanese socialist mystery novels. One of the reasons why Seicho’s mystery novels are gaining popularity among Japanese people is that the motives of the suspenseful mystery novels are found in post-war problems or psychological problems as a human being. It is because they are boldly dealing with organizational corruption, etc. Seicho’s mystery novel was also made into a movie at the same time and enjoyed great popularity.
Although Seicho’s first original film, Face, did not receive good reviews from film critics, it received good reviews from audiences at the time, both for being Seicho’s original film and for being a suspenseful film.
The male protagonist changes into a female protagonist, and the appearance of several other new characters from movie stars to top models gave birth to a new suspense film with different meanings from the original.
In it, the main character, Akiko, is a main character that is not in the original, but has the aspect of a western ’villain’ among Seicho’s original films, which is very similar to the femme fatale of film noir that was popular in the 1940s. In addition, it visualizes the social image of the era fascinated by American and Western things in Japan’s post-war society, and at the same time, the duality of the femme fatale villain Akiko, that is, the fact that she is a Japanese ’villain’ that is difficult to define simply as a femme fatale is also important.
Akiko overlaps with the female characters often seen in other Seicho works. After the war, the rural villagers who are hit by a poor life and move to Tokyo, but their dreams are only dreams and become moths in Tokyo’s slums and dark areas, and they become criminals without even realizing their dreams. Street woman Pangpang, second wife, maid, and bar clerk in Ginza The women in these Seicho works are neither beautiful nor young women. However, after the war, it is linked to the structural corruption of Japanese society, and in the end, it has a tragic life. The women and Akiko in these Seichō original novels are similar. However, the fact that she is a beautiful young woman is in direct contact with Western femme fatale, American culture, and reality outside the frame.
Seicho’s first original movie Face imitates a suspense film with a sophisticated western image with Akiko, an urban villain, with a femme fatale image, but through Akiko’s past and surrounding people, It can be said that it is a work with a double connotation, allowing you to look behind the scenes of Seicho-style villainy and Seicho-style before and after.

참고자료

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