KJCKorea
Journal Central

This paper pays attention to what <Missing> and <The Bacchus Lady> as 'feminist films' of having been released in the similar period are listening to public opinions about an issue that women in diverse groups faced in the middle of Korean society, and are ultimately considering the direction of solidarity in minorities. Out of these, <Missing> focuses on calling for the audience flow through borrowing a form of classical tragedy as well as claiming to stand for mystery, and on implementing catharsis of fear and pity. Also, <The Bacchus Lady> takes a method of observing the other side of our society at a distance instead of enforcing empathy upon a character of having been embodied a tragedy in Korean modern history. Out of these, <Missing> picks up a problem of solidarity, which is not easy for two women whose race and bracket are different, with traversing a gap of possibility and impossibility for solidarity between divorced working mom and Joseonjok(Korean Chinese) nanny. By the way, the immigrant woman in the play exists as a subject of being observed, and is placed as a target that needs to be clarified in a relationship between a person of investigating truth and a person of being investigated. In case of <The Bacchus Lady>, it extends critical mind through averting the eyes to the current elderly issue without stopping in addressing a problem of prostituted women and sexual minorities. And in the process of being arranged even the lethargic elderly all as the non-mainstream, a difference in groups is made nothing. A woman becomes a subject of exchange again in male community. Nevertheless, a movie makes this situation romantic with deleting violence that is placed amidst a trading relationship based on gender inequality. In the vortex of gaining power in 'man's movie', it is an undeniable outcome in a point that <Missing> and <The Bacchus Lady> are addressing a problem of labor and daily life in women who belong to diverse brackets in the middle of the neo-liberalistic era. However, two movies, which keenly figured out women's reality, have a common limitation in a regard of eventually returning to a discourse of conservative motherhood. At the point of time that a controversy over feminism in Korean film is being progressed again actively, the work of illuminating the lights and darks in feminist films, which have appeared in the meantime, will be able to become the foundation in which Korean movie secures gender sensitization after this.

Feminist film, <Missing>, <The Bacchus Lady>, Feminism debate, Gender inequality