KJCKorea
Journal Central

This paper studies relationship between comedy films and female comedians and possibility of female comedy in 1960s. The comedy films which were produced from the late 1950s to the early 1970s had male comedians as main characters. In fact, there were a lot of female comedians who played actively on the stage of variety shows, Ak-kuk, radio and TV. But their roles on screens were just supporting characters or extra parts while male comedians usually played main characters. Female comedians were not heroins in the film industry. Female comedians could not be main part in films but were in short plays, jests(Man-dam) and shows. And female characters were screened as objects who had to be reformed by men and were considered as compensation for men with their social success in those films. Whereas, <Namjaneun Sireo> was out of these problems consciously and unconsciously. Consciousness and unconsciousness of the time were involved in censorship and rifacimento process of the film. And collision and fracture between functions of BAEK Keum-Nyo's performing in narrative and what is performed by herself beyond narrative reveals possibility to re-evaluate this film as a 'female comedy.' Most of all, the 'physical' comedy of BAEK differs from other comedies of the time which defined and regulated women as sexual objects. Inside and outside of the context surrounding this film, BAEK is very important which is not to be controled by the patriarchal order and constructs an alternative femaleness. We still need more BAEKs in our cinema who are the subjects of desire and are aiming for existence itself.

Comedian comedy, Baek Keum-Nyo, Namjaneun Sireo, Femal Comedy, Censorship