초록

Representation & the Meaning of 1950's Popular Films: focusing on Madam Freedom& The Flower in HellHwang Hye-jinKorean Popular Films in 1950s have meaning which show the social practices related with process of subject-construction. In the circumstance of post-war, American culture was desired as the symbol of democracy and capitalistic afluent. But for the most Korean people, especially for men, that kind of desire gave some painfulstres as wel as pleasure of captivative experience and they neded a symbolic solution to be working with efect. In that aspect, Film as a product of comercialism and very functional media represented women as sexual objects had been used to disavow castration anxiety through making fetish of women and things from America.Madam Freedomshows the impressive scenes placing women in the capitalistic exchange system and then make them Other.The Flower in Hell , also r e v e a l s w h a t w a s s o d a n g e r o u s t h i n g t o m e n i n p o s t - w a r p e r i o d as representing Korean military comfort women monstrously. But, inspite of those symbolic attempts to exclude women from official realm, it was u n a v o i d a b l e t h a t t h e p r e s u r e o f social change was a matter a great emergency. In this context, women in late 1950's popular films prove the being of historial space to compete for justification on the issues about genderization.1950년대 한국영화의 여성 재현과 그 의미 33Key Words1950s, subject-construction, castration anxiety, capitalistic exchange system, fetish/ism, genderization *