<금욕>의 레즈비언 재현 연구 : ‘전복’과 ‘해방’의 이미지

초록

Ascetic (1976) is acknowledged as the pioneering lesbian film in Korea, yet it is also criticized for pathologizing lesbian sexuality. These conflicting assessments arise from fragmented analyses of the film"s surface-level narratives and dialogues in previous research. This study reexamines the potential for lesbian representation in Ascetic by delving into its visual and narrative structures. Preceding Ascetic, films such as Sad Palace Court (1970), A Court Lady (1972) and Evil Spirit (1974) from the 1970s depicted lesbians sporadically and in a sexualized manner, emphasizing the objectification of lesbians rather than their own agency and identity. Ascetic seeks to challenge these limitations. Moreover, through the recurring motifs of birds and birdcages, Ascetic symbolically depicts the emancipation of two women from the trauma of male violence through love and solidarity. The portrayal of Yeonghui finally opening all the cages and moving freely between the bars unequivocally signifies a new avenue for lesbian representation. It is imperative to interpret these images of women liberating themselves in a more positive light.

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