동성애 영화에서의 ‘보는 즐거움’의 정치학: <브로크백 마운틴>, <서양골동양과자점 앤티크>, <쌍화점>을 중심으로 (The Politics of Visual Pleasure in Homosexual Films: On Brokeback Mountain, Antique, and Ssanghwajom)

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초록

This paper examines the specific cinematic tactics with which films dealing with homosexuality appeal to heterosexual audience. In discussing this issue, the study compares an American film, Brokeback Mountain, and two Korean films, Antique and Ssanghwajǒm. Although these films apparently seem to signal a new era in American and Korean film culture when homosexuality is less tabooed than before, a deeper observation of the films’ cinematic techniques and audience demographic reveals that they actually ignore homosexual audience by mainly focusing on heterosexual spectatorship.
To find out how the homosexual films attract different groups of audience, the paper first traces the specific visual pleasure that each film generates. Brokeback Mountain parades beautiful American landscape to familiarize the gay story to heterosexual audience in general, whereas the two Korean films feature extremely beautiful male actors(kkotminam) to draw the attention of female audience. In both cases, homosexuals themselves are hardly considered as the target audience. Therefore it is revealed that the success or proliferation of gay films do not necessarily prove or contribute to the elevation of homosexual status in society. Instead, homosexual films produced in the mainstream film industry such as these three films can become deceiving markers of the social change regarding homosexual reality that has not yet come.

영어초록

This paper examines the specific cinematic tactics with which films dealing with homosexuality appeal to heterosexual audience. In discussing this issue, the study compares an American film, Brokeback Mountain, and two Korean films, Antique and Ssanghwajǒm. Although these films apparently seem to signal a new era in American and Korean film culture when homosexuality is less tabooed than before, a deeper observation of the films’ cinematic techniques and audience demographic reveals that they actually ignore homosexual audience by mainly focusing on heterosexual spectatorship.
To find out how the homosexual films attract different groups of audience, the paper first traces the specific visual pleasure that each film generates. Brokeback Mountain parades beautiful American landscape to familiarize the gay story to heterosexual audience in general, whereas the two Korean films feature extremely beautiful male actors(kkotminam) to draw the attention of female audience. In both cases, homosexuals themselves are hardly considered as the target audience. Therefore it is revealed that the success or proliferation of gay films do not necessarily prove or contribute to the elevation of homosexual status in society. Instead, homosexual films produced in the mainstream film industry such as these three films can become deceiving markers of the social change regarding homosexual reality that has not yet come.

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