시한부 홍콩 소녀와 저가 극장의 하위문화 정동 - 홍콩영화 ≪스잔나≫와 ≪사랑의 스잔나≫의 한국 반향과 문학적 변용 (Terminally Ill Hong Kong Girl and Subculture Affect in Low-Cost Cinema - Sensation and Literary Utilization of Hong Kong Movies Susanna and Chelsia My Love in S. Korea)

서지정보

· 발행기관 : 고려대학교 중국학연구소
· 수록지 정보 : 중국학논총 / 82호 / 105 ~ 139페이지
· 저자명 : 장동천

초록

The Hong Kong melodrama Susanna(珊珊, 1967) and Chelsia My Love(秋霞, 1976), which created the 'Susanna' craze, succeeded at the box office and caused much buzz in S. Korea. Not only that, these movies are still enjoyed as nostalgic items for the baby boomers these days, more than 40 years later. After baby boomers met with Internet culture, they created fan cafes for the main actors, and content through blogs and OVP that recall movies increased significantly. On the other hand, long before these activities of the general public appeared, the two movies were used in various ways as literary signs, through being cited in profound literary texts by professional writers. This is a very unusual case among many Chinese-language movies imported into S. Korea.
In this study, I will look at the cultural background of the two movies introduced to S. Korea from various angles and analyze the causes and aspects of the cultural effect these movies have caused to the youth in a politically and socially rigid situation. Furthermore, I will explore the main characteristics of literary works such as Lee Soon-won, Shin Kyung-sook, and Yoo Ha, summoning these movies later in memory. Through a series of context studies, this paper attempts to reconstruct the cultural memory that Hong Kong's melodrama formed in S. Korea's postwar baby boom generation as a subculture of the youth in the gap between the oppressive social atmosphere and the trend of American consumption culture.

영어초록

The Hong Kong melodrama Susanna(珊珊, 1967) and Chelsia My Love(秋霞, 1976), which created the 'Susanna' craze, succeeded at the box office and caused much buzz in S. Korea. Not only that, these movies are still enjoyed as nostalgic items for the baby boomers these days, more than 40 years later. After baby boomers met with Internet culture, they created fan cafes for the main actors, and content through blogs and OVP that recall movies increased significantly. On the other hand, long before these activities of the general public appeared, the two movies were used in various ways as literary signs, through being cited in profound literary texts by professional writers. This is a very unusual case among many Chinese-language movies imported into S. Korea.
In this study, I will look at the cultural background of the two movies introduced to S. Korea from various angles and analyze the causes and aspects of the cultural effect these movies have caused to the youth in a politically and socially rigid situation. Furthermore, I will explore the main characteristics of literary works such as Lee Soon-won, Shin Kyung-sook, and Yoo Ha, summoning these movies later in memory. Through a series of context studies, this paper attempts to reconstruct the cultural memory that Hong Kong's melodrama formed in S. Korea's postwar baby boom generation as a subculture of the youth in the gap between the oppressive social atmosphere and the trend of American consumption culture.

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