2020, Vol., No.70

The Journal of Korean drama and theatre 2023 KCI Impact Factor : 0.77

pISSN : 1225-7729 / eISSN : 2713-8453
https://journal.kci.go.kr/kdrama

The purpose of this paper was to identify the concept of Kim Woo-jin's death as a subject of independent reading, rather than to read the death of Kim Woo-jin himself, and to explain and narrower the gap between Kim Woo-jin's social and internal writing. In order to do so, the writer's tendency and the theme of death were fully discussed, mainly relying on Blanchot's "Dehors" concept, and "Nanpa" as an extension. Following the development of the discussion, the diaries and letters of Kim Woo-jin also included the author's consciousness as a basis for discussion, judging that there were some textual parts. Attention was drawn to the fact that Kim Woo-jin's creation was a result of active writing. In previous discussions, Kim Woo-jin's death concept was often identified as an extension or one of the concept of vitality, so that in this paper we wanted to read Kim Woo-jin's play with a new concept of communication and community. The death that appears in Kim Woo-jin's work makes those who remain after someone’s death newly form and have meaning. In addition, Kim Woo-jin as a critic makes social writings, while Kim Woo-jin, a writer, shows an abstraction and concept that is not much different from the diary in poems and plays, borrowing the concept of Blanchot and viewing it as a "dehors" and showing the beginning of the community's openness. The community speaking here is through mourning and suspicion of existence after death. When looking at "Nanpa" and "Sandoiji" under the theme of communication with humans after death, it is believed that death plays a role in the writer's work by recognizing his location and historicality through outside experience and strongly identifying the starting point of transformation. As a result, many commentators pointed out Kim Woo-jin's death as a sign of communication that functions in a completely different way and prepares for the opening of the community, rather than a different name for life. It is meaningful to read Kim Woo-jin's plays in the 2020s, given that the community is not limited to the Joseon community that shares that era with Kim Woo-jin, but is a preliminary community that must be formed as long as humans are meant to be dead.

Taineun Jiokida produced by OCN is based on the original webtoons that has been verified for its quality of work and popularity, so it became a hot topic even before the drama aired. It received positive reviews after airing interesting scripts, actors' outstanding acting skills and various directing attempts. Unlike previous OCN dramas, however, the film captures the process of brutal murder itself. In other words, The drama can neither reveal the motive for the murder nor punish the criminal. Unlike the original, the drama reflects the real problems of Korean society, but this sense of problem does not lead to a hopeful attitude to improve social problems. The people in this drama inevitably don't trust each other and are hostile and cannot form any solidarity. For humans who have to live with others, the perception that others are hell shows that their fate is trapped in hell. In this view of the world, the specific problems of reality are consequently concealed. This is because only the existential and abstract problem of others being hell remains. Criticism of national, power and social issues that make happy communities or good lives impossible in the drama leads to despair that nothing can be changed. The true cruelty of this drama, Taineun Jiokidais there.

According to Rosi Braidotti's view, which is that these words 'mother, monster, machine' are closely related and directed to feminist theories and cultural phenomenon, the emergence of powerful feminine adolescence in the films, <Maneyo> and <Hanna> could be explained with three words in this paper. These films that have a girl killer as a leading role, have similarities in their plots. These girls in the films are born by advanced science such as gene manipulation and constantly confront enemies who try to kill them. The girls' birth without mothers illustrates that science and technology can control woman's body as well as mother's role. The absence of mother and the substitute of mother trying to kill girls mean male patriarchal society's attempt to tame them. During the enemies' attack and the girls' resistance, the girls have processes of developing as themselves. Finally, their enormous power and uniqueness are revealed the world and instantly the girls are considered as a monster. Although the girls are not a man nor an adult, they became a threat to the male-society. The girls' power created by science and their immature images are shown as a marker of malleable identity at the same time potentiality for the future. Even though the images of feminine adolescence are consumed in the popular culture,the emergence of a powerful and strong girl in films means the crucial markers of cultural and social change.