Abstract ▼ AI-Helper

〈Silenced〉(2011) visualized an infringement upon personal rights of hearing-impaired children, and 〈Unbowed〉(2012) showed the anguish of the weak against the gigantic authority of the judicature. This study’s aim is to analyse this two films, which caused the social phenomenon of the self-question...

〈Silenced〉(2011) visualized an infringement upon personal rights of hearing-impaired children, and 〈Unbowed〉(2012) showed the anguish of the weak against the gigantic authority of the judicature. This study’s aim is to analyse this two films, which caused the social phenomenon of the self-questioning for the judicial system in korea. Above all, this two films based on fact created the reality dispute. However, the film, both as media and as art, should be recognized by the filmological discourse and especially by the genre criticism focused on the courtroom drama. Therefore, this paper attempts to approach this two films from the perspective of genre ‘courtroom drama’ and its film grammar. According to kuzina’s categorization of courtroom drama, the courtroom (or legal) drama means the dramatic fiction about crime and civil litigation, and includes as subtypes ‘courtroom whodunit’, ‘legal/justice thriller’, ‘lawyer film’, ‘juryroom drama’, ‘courtroom comedy’, ‘court-martial drama’, ‘social issue courtroom drama’ and so on. In addition to this subgerens, there is also hybrid forms. 〈Silenced〉 falls under the subgenres ‘social issue courtroom drama’ and ‘legal/justice thriller’, and 〈Unbowed〉 is affiliated to the subtypes ‘social issue courtroom drama’ and ‘lawyer film’. In this work, this two films are called as korean hybrid courtroom drama, which cause active communications in our society and independent discussions about the judicial arrangements. In other words, the large courtroom drama audiences form spontaneously a social consensus, and this phenomenon works as a huge observational power toward the society.

Keyword