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Narrative of Post Feminist Drama Series and its Political Implications ―Focused on the TV Drama Geomsaekeureul ibryeokhaseyo WWW(Serch WWW)

  • The Journal of Korean drama and theatre
  • 2019, (65), pp.305-348
  • DOI : 10.17938/tjkdat.2019..65.305
  • Publisher : The Learned Society Of Korean Drama And Theatre
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : August 5, 2019
  • Accepted : September 23, 2019
  • Published : September 30, 2019

Kim, Mi- Ra 1

1서울여자대학교

Accredited

ABSTRACT

Unlike the second wave feminism which focused on “inequality”, post-feminism and media studies centers on women’s self-realization, ambitions for success, sexuality as a sexual being, and enjoyment and resistance as a consumer, women who live in in a neoliberal society and focuses on how the media portrays the new female subject. From this perspective, this study has categorized the tvN drama series Geomsaekeureul ibryeokhaseyo WWW which follows the professional lives, friendships, and romantic relationships of thirty-something female senior executives at large internet companies, as a post-feminist drama series. This study employed narrative analysis to identify how this drama series describes and excludes the new female being, and discusses the political implications from this post-feminist narrative. The analysis shows this drama illustrates women, who previously were cast to the periphery, as rational, socially ambitious beings, through the strong female characters of thirty-something year old executives at large internet companies who have already achieved professional success and does not bend to pressure from government. In addition, the three main characters who are colleagues and school friends, compete fiercely in their professional lives, but at critical times lend help to each other. This shows a strong emotional connection, and hints at the possibility of a “sisterhood” as touted by feminists. The drama also deviates from the traditional patriarchal ageism in romantic relationships through a storyline involving a relationship with a non-authoritarian younger man with a lower socio-economic status, and illustrates the woman taking the lead in the relationship with an assertive stance on sexuality. Another break from the age-old narrative of ‘romantic love and coupling’ is the woman who had entered into a marriage of convenience announcing her divorce and independence. This series completely excludes family centric storylines and narratives on patriarchal authority which has long oppressed women. This post-feminist narrative is the complete reversal of the “Cinderella story” which has been widely criticized by feminists, and conforms to the changes in feminist discourse following the MeToo movement. However, the problem lies in the fact that by focusing on the small minority of women who are already successful professionally and financially independent who enjoys professional success and are assertive sexually and takes the lead in romantic relationship, it veils the problematic reality that the majority of women are suffering due to less pay versus male peers and trapped in non-permanent contractual jobs. There are also limitations in that such portrayals cause an “optical illusion” that these problems in society have been resolved.

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