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The Structure of Reversal and the Way of Comforting in TV Drama Nooni Booshige (The Light in Your Eyes)

  • The Journal of Korean drama and theatre
  • 2020, (68), pp.89-121
  • DOI : 10.17938/tjkdat.2020..68.89
  • Publisher : The Learned Society Of Korean Drama And Theatre
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : May 10, 2020
  • Accepted : June 19, 2020
  • Published : June 29, 2020

PARK MIRAN 1

1성공회대학교

Accredited

ABSTRACT

This study would investigate the way of arousing sympathy and comfort by examining the structure of reversal in TV Drama Nooni Booshige (The Light in Your Eyes). Nooni Booshige begins with the fantasy genre of ‘time slip’ in which a 25-year-old young woman became an old woman in her 70s for the cost of turning back time but converts the meaning of the narratives, revealing that the previous narratives were the old woman’s delirium in the later part of the work. This work allows the viewers to interpret the meaning by reversing the positions from a young woman to an old woman, from a parent to a child and from a fact to fiction. The narratives up to Episode 10 before the reversal deals with the process in which one acknowledges oneself and accepts oneself as a pitiful being by looking into one’s life perceived as human debris or error, shedding light on the young generation and the old generation despised or excluded in reality. Such an attitude toward life plays an important role also in the narratives, including Hyeja and Daesang’s conflict and reconciliation and Hyeja’s acceptance of life in Episode 11 and Episode 12 after the reversal. Hyeja who unconsciously transformed the remaining memories left as wounds due to helplessness to reality comes to be able to accept her previous life, recognizing the importance of having the moments she had as memories, and Daesang who considered himself her stain comes to be able to accept her life, realizing that she embraced his life. Nooni Booshige focuses on the people defined as ‘unattractive and poor’ beings by society and lives in which they could not but experience unacceptable tragic incidents helplessly in an age needing comfort. This work would accept the beings that have their life trajectories and stories as pitiful themselves. It is a work that comforts the viewers, emphasizing that ‘the present’ they have lived with the beings can be dazzling and that it is doing things with someone who recognizes and remembers them, instead of coping with it alone.

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