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A Study on the Signs of family disintegration and the possibility of reconstruction - Around the animation Cheonnyeonyeou Yobi(Yobi, The Five Tailed Fox)

  • The Journal of Korean drama and theatre
  • 2019, (65), pp.99-135
  • DOI : 10.17938/tjkdat.2019..65.99
  • Publisher : The Learned Society Of Korean Drama And Theatre
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : August 9, 2019
  • Accepted : September 23, 2019
  • Published : September 30, 2019

Kim Kang Won 1

1중앙대학교

Accredited

ABSTRACT

In the late 1990s, Korea suffered from the economic crisis of the IMF management system. At this time, signs of family disintegration, such as divorce, separation, and abandonment, spread rapidly. Since then, it has become difficult to insist on traditional family discourse or family unity, which has led to the need for a new type of family discourse. The article is an aspect of a series of studies on 'Korea's Polar Arts and Family Debate: The Disintegration and Reorganization of Families After the IMF Financial Crisis', want to talk about 'family' as a sign through animation Cheonnyeonyeou Yobi. With the genre of drama, including plays, and its sub-genre, "family" becomes a key concept in animation compared to video sages such as movies and TV dramas. In particular, Korean animation can be seen as a drama genre with great family discourse and affinity. Among other things, Cheonnyeonyeou Yobi is interesting in that it has begun the revival of local animation for theaters and has different levels of variation from previous works. It can also be seen as a suitable text for examining family discourse on the dissolution and reorganization of families after the IMF. Based on traditional Confucian values, adults are the centrepiece of the family. Therefore, for animation aimed at children and adolescent audiences, the role or value of these adults tends to be reinforced and reproduced in comparison to actual social perceptions and values. In this context, it is unusual for the absence of such an adult in Cheonnyeonyeou Yobi to be prominent. Even adults are emerging not as guardians but as elements of conflict. In this work, the boundaries of the family are naturally being dismantled, showing children who are absent and neglected by adults. The dissolution of this family is not only due to its absence but also due to its loss. In Cheonnyeonyeou Yobi, the absence of a family is highlighted in cases where it overlaps with or parallel to loss. In Cheonnyeonyeou Yobi., the family was disbanded through absence and loss, but that doesn't mean that individuals are isolated alone. This is because relationships in the form of replacing family members in a blood-related sense are revealed. What's interesting about the work, however, is that the reconstruction of the family is being reconstructed into a new form of solidarity, or empirical entity, rather than simply reconfiguring the family composition of patriarchal traditions. The dissolution of a family is a process of reconstruction at the same time. So in Cheonnyeonyeou Yobi, it is not lost, divided, or left deficient. Losses are replaced, disassembly is regenerated. And this is a sign and a discourse acquired through Cheonnyeonyeou Yobi. At the same time, this could be a sign of family discourse that our society will pursue, or that our next generation will enjoy.

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