혐오와 공포의 재현을 넘어 공감과 연대의 재현으로-영화 ≪청년경찰≫과 ≪범죄도시≫를 중심으로-

초록

This paper examines how the films "Youth Police" and "The Outlaws", which were opened in 2017 to commercial success, negatively portray and reproduce the Korean and Chinese communities, and show how Korean movies are beyond the reproduction of aversion and horror And to see if they can move forward with the reappearance of sympathy and solidarity. The movie ‘Yellow Sea’, which was released in 2010, played a crucial role in drawing the Korean-Chinese into negative groups. The movie ‘Shinsegae’, which was released in 2012, also helped to portray the Korean-Chinese group as a negative group by introducing the Korean ethnic group. Since then, Korean film has concentrated on drawing the Korean-Chinese into a brutal and horrible crime group so that it can set the genre of ‘Korean-Chinese action noir’ separately. The film ‘Youth Police’ can be said to be a “complete edition of prejudice.” The film portrays and reproduces ‘Daelim-dong’, a residential area of Korean-Chinese dynasty, as a space of inferiority and fear, not a space of possibility of discovering cultural diversity. The director of the film Kim Joo-hwan tried to avoid the controversy by saying, “Cinematic device rather than prejudice,” but rather “prejudiced rather than cinematic.” Therefore, the film ‘Youth Police’ can encourage and evaluate ideological Chaophobia using the unconscious aversion and fear of the audience. The movie ‘The Outlaws’ maximizes the confrontation between stronger villains (strengthening negative emotions and delusions against others) and stronger heroes (reinforcing positive emotions and delusions for oneself). Kang Yoon-sung, director of the film, said, “The Outlaws is a story about people catching a bad guy with a homicide detective. I do not think you will feel uncomfortable with Korean-Chinese compatriots.” The brutality and violence of the Korean-Chinese, who draw swords to the filth and desolation of the Korean-Chinese living space described as a ghetto, and to the small strife, disillusion this explanation. In addition, the fact that the main character, Ma Seok-do(Ma Dong-seok), has set as a ‘cartoon character’ has abandoned the quest for social meaning and obsessed with ‘pursuit of cinematic fun’. Thus, Korean films based on the Korean-Chinese do not doubt and reproduce the dislike and fear of the Korean people. The films ‘Youth Police’ and ‘The Outlaws’ were so wide that they expressed concern that the abhorrence and fear of these Korean-Chinese could be settled as ‘movie industry’. Reflections and reflection on the film ‘Youth Police’ and ‘The Outlaws’ are essential tasks at this point in the sense that negative thoughts and judgments about the once formed Korean-Chinese do not change easily. In order to escape from this erroneous practice, the direction of the question should be directed to ourselves, not to the Korean-Chinese. In other words, when we reflect and reflect on the duality of Korean society to the Korean-Chinese people called ‘Korean people’ and ‘jjangkkae’, Korean films portray the Korean people as objects of sympathy and solidarity And can represent.

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