This paper critically examines what the movies 〈A Tale of Two Sisters〉, 〈Spider Forest〉, and 〈Sorum〉 have in common, particularly in terms of how the male/female characters are represented. Furthermore this study also aims to investigate not only how the motherhood could be embodied but also what fu...
This paper critically examines what the movies 〈A Tale of Two Sisters〉, 〈Spider Forest〉, and 〈Sorum〉 have in common, particularly in terms of how the male/female characters are represented. Furthermore this study also aims to investigate not only how the motherhood could be embodied but also what functions it performs and where the epicenter of horror is located. The paper also explores these movies’ coordinations within the category of Korean horror movies, from a broad perspective. These movies simultaneously attempt the aesthetic consideration of invisible horror. In other words, the movies raise the questions “Where is the ghost?” or “Where the horror comes from?” to the audience, and finally raise a question about a guilt. Actually, in these movies, the importance of ghosts as visible and physical entities was noticeably reduced; the ghosts do not even appear at the beginning. Rather, the ghosts in the three movies are psychological derivatives which reflect the desires of the observers, recognizers, and imaginers. What, then, does it mean by raising a question about a guilt? Diverse answers can be given for this question, but above all, while the question is dealt with in earnest, the form of choice, which the characters could select, have been changed. In other words, the protagonists face the problem, such as “being killed or going crazy” rather than “killing the other (the ghost) or being killed by it.” This is because the epicenter of horror is located inside the subject but not in the other characters or in any external object. Meanwhile, raising a question about a guilt collapses the formula “the location of horror is the body of subject, who is dead but still alive.” That is, the location of horror comes form “the ordinary-looking subject,” which raises the possibility of making everyday life more unstable.
This paper critically examines what the movies 〈A Tale of Two Sisters〉, 〈Spider Forest〉, and 〈Sorum〉 have in common, particularly in terms of how the male/female characters are represented. Furthermore this study also aims to investigate not only how the motherhood could be embodied but also what functions it performs and where the epicenter of horror is located. The paper also explores these movies’ coordinations within the category of Korean horror movies, from a broad perspective. These movies simultaneously attempt the aesthetic consideration of invisible horror. In other words, the movies raise the questions “Where is the ghost?” or “Where the horror comes from?” to the audience, and finally raise a question about a guilt. Actually, in these movies, the importance of ghosts as visible and physical entities was noticeably reduced; the ghosts do not even appear at the beginning. Rather, the ghosts in the three movies are psychological derivatives which reflect the desires of the observers, recognizers, and imaginers. What, then, does it mean by raising a question about a guilt? Diverse answers can be given for this question, but above all, while the question is dealt with in earnest, the form of choice, which the characters could select, have been changed. In other words, the protagonists face the problem, such as “being killed or going crazy” rather than “killing the other (the ghost) or being killed by it.” This is because the epicenter of horror is located inside the subject but not in the other characters or in any external object. Meanwhile, raising a question about a guilt collapses the formula “the location of horror is the body of subject, who is dead but still alive.” That is, the location of horror comes form “the ordinary-looking subject,” which raises the possibility of making everyday life more unstable.
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