Hyun-suk Seo
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9789622099722
- eISBN:
- 9789882207028
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622099722.003.0009
- Subject:
- Film, Television and Radio, Film
This chapter examines how the fetishistic system of signification regenerates horror and desire in Korean horror films. It focuses on the common motifs of “resentment”, “jealousy,” and “revenge” in ...
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This chapter examines how the fetishistic system of signification regenerates horror and desire in Korean horror films. It focuses on the common motifs of “resentment”, “jealousy,” and “revenge” in object-oriented films such as The Red Shoes (Bunhongsin, 2005), Phone (Pon, 2002), Acacia (2003), The Wig (Gabal, Won Shin-yeon, 2005), Cello (Chello hongmijoo ilga salinsagan, 2005), and Apartment (APT, 2006). It suggests that these films are driven by a female protagonist's attachment to personal objects that once belonged to the dead. Such uncanny objects emanate both attraction and repulsion, which express the heroine's role within patriarchal discourses that reproduce women's desires and anxieties through phallocentric fantasy.Less
This chapter examines how the fetishistic system of signification regenerates horror and desire in Korean horror films. It focuses on the common motifs of “resentment”, “jealousy,” and “revenge” in object-oriented films such as The Red Shoes (Bunhongsin, 2005), Phone (Pon, 2002), Acacia (2003), The Wig (Gabal, Won Shin-yeon, 2005), Cello (Chello hongmijoo ilga salinsagan, 2005), and Apartment (APT, 2006). It suggests that these films are driven by a female protagonist's attachment to personal objects that once belonged to the dead. Such uncanny objects emanate both attraction and repulsion, which express the heroine's role within patriarchal discourses that reproduce women's desires and anxieties through phallocentric fantasy.
