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The Study of South Korean Hostess Film (1974-1982)

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The Study of South Korean Hostess Film (1974-1982) WHORING THE MERMAID: THE STUDY OF SOUTH KOREAN HOSTESS FILM (1974-1982) BY MOLLY HYO J. KIM DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Professor C.L Cole, Chair Professor Sarah Projansky, Director of Research, University of Utah Professor Nancy Abelmann Professor J.B. Capino Professor Jinsoo An, University of California at Berkeley ABSTRACT This dissertation focuses on cinematic representations of prostitute women in South Korean Hostess (ho-sŭ-t'e-sŭ’: a euphemism for prostitutes or bar girls in the Korean context of the 1970s and 1980s) films. This body of films is not only characterized for the exploitive employment of female sexuality but more importantly for the theme of women’s extreme and perpetual sacrificial. Previous South Korean film scholarship has argued that the Park’s state censorship operation critically influenced the formation and thriving of these hostess films, because the state censors condoned sexual materials in films to drive away the public attention from politics as well as to please producers and directors who were increasingly becoming critical with strict military censorship (Chung, H.,2005; Yu, S.,2004; Kim, S.,2000; Park, J.,2008). While this scholarly account seems to be coherent that the genre is affected by the force of the state censorship, it does not fully explain how these films of, particularly, ‘prostitutes’ and their recurring theme of female sacrifice were constructed and canonized. My dissertation necessarily delves into this detail because hostess films were pioneered and thrived by some key directors of the 1970s. These directors founded a film movement, The Era of Image (1975) through which they committed to rejuvenate Korean cinema by delivering socially relevant issues combined with commercially viable aesthetics of cinema. The thematic and visual conventions of hostess films particularly involving with sexualized, working class female protagonists correspond to these artistic premises of this film movement. While this research historically overviews the genesis of these films, it particularly focuses on previously under investigated roles of hostess directors and media industry that ii critically provoked popularization of the films by aestheticizing and commercializing ‘female [sexual] sacrifice’ respectively. In doing so, I hope to read the South Korean hostess films more as culturally complex texts rather than by-products of the state power. At the same time, this research will illuminate cinematic representation of hostess women, or hostess sexuality which became a cultural epitome of women, during the 1970s and beyond. iii ACKNOWLEDGMENTS It has been a long, spiritual journey. If God did not exist, I would have died so many times. I, myself alone, was never strong enough to fight this battle, so I thank God for the miracles and blessings with which he has nourished me. Ever since my mother took me to a movie theater for the first time, to see Cinema Paradiso, I always considered myself a female version of Salvatore in the movie, a kid who was born in a poor, dysfunctional family but defeated every obstacle through his love of cinema. This dissertation is one piece of evidence of my eternal passion and love of film. Of course, this work could not have been completed, or even started, without the intellectual and spiritual guidance of my professors. I am truly grateful for my advisor, Sarah, as I have never regretted setting out on this journey because of her academic advice and emotional support. Also, I cannot properly describe in words my appreciation for Nancy, who motivated me to choose the topic of under- represented Korean prostitutes in films. She is a great fighter and educator. I have been praying for her recovery, and I will continue to do so. I deeply appreciate the participation of J.B., the coolest human being on this planet. Not only his vast knowledge of US exploitation films and underground cinema, but also his warm, heartfelt advice when I needed it most, sustained my fragile being. It has been my greatest luck to have Prof. Jin-soo for this project. Despite his distance from my school, his support has never been insufficient. I will cherish all my notes from our hour-long phone conversations. Lastly, I express my gratitude to Prof. Cole for being my chair. It was an honor to have her as my chairperson, as she is a renowned scholar. I am very thankful for her decision to take the position. iv There are numerous people I have been privileged to meet and receive help from during this project. Cho Jun-hyung, at the Korea Film Archive, provided me access to the censorship data from the 1970s, which had not been open to public at the time of writing. Lee Jang-ho and Kim Ho-sŏn, the creators of the great films I discuss in this dissertation, provided me with precious behind-the-scene stories and an oral history of filmmaking and film culture in 1970s Korea, which I could not gain from other resources. Kim Jong-hoon, my dear friend who had worked in the film industry for years, contributed to this adventure by making me a file that contained hundreds of classic Korean films from the 50s to the 90s. Most of the films I covered in this dissertation were viewed from this ‘treasure file.’ My lovely cohorts, alumni, and students from my previous schools, in particular Cheol Gi Bae, Sachiko Furusato, Yuna Im, and Evan Cho, literally saved my life. During my Ph.D. years, I perpetually suffered from depression and a sleep disorder, and without their relentless support, I would not have survived those countless, deadly nights. Last and foremost, I dedicate my work to Linda, who has been, and is, the sole reason for me to live this life. We shared all the Chaplin movies, and when we did, we were just the happiest kids in the world no matter how brutal our lives were in reality. For us, movies were reality. She will always be my Chaplin and I will always be her flower girl. Linda, I love you, my mother, friend, sister, and true movie mate. v TABLE OF CONTENTS Chapter One: Introduction: The Birth of South Korean Hostess Films--------1 The Directors of Hostess Films---------------------------------------------------------------------------7 Park Chung-hee’s Film Regulation and Hostess Films------------------------------------------------10 The Rise of Hostess Culture-------------------------------------------------------------------------------12 Methodology-------------------------------------------------------------------------------------------------23 Chapter Summary-------------------------------------------------------------------------------------------25 Chapter Two: Film Policies, Censorship and Genre During the Park Chung-hee Regime (1961-1979)-----------------------------------28 A Historical Overview of Korean Film Censorship Before the Park Chung-hee Regime--------33 Park Chung-hee’s Film Politics (1962-1978) and the Activation of the Yushin Film Law and Censorship (1973)-------------------------------------------------------------------------------------------38 A Popularity of Hostess-Melodramas during the Park Chung-hee Regime -------------------------47 A Case-Study of The Rose that Swallowed Thorn (Cheong, 1979)-----------------------------------52 Conclusion----------------------------------------------------------------------------------------------------59 Chapter Three: Strategized Conventions: The Narratives, Characters and Styles of Hostess Films--------------------------------------------------------------------61 Theme of the Prostitute and Fallen Woman in Popular Texts: Narratives and Characterization-67 An Erotic Tale of a Sacrificial Prostitute: Young-ja’s Heydays (Kim, 1975) and Heavenly Homecoming to Stars (Lee, 1974)-------------------------------------------------------------------------77 Chapter Four: ‘New Movies by a New Generation’: The Era of Image (1975) and Hostess Films--------------------------------------------------------------------------90 Hostess Directors and The Era of Image-----------------------------------------------------------------92 The Rise of ‘Young Men’ Directors (ch'ŏng-nyŏn-'gam-dok) During the Depression of the Korean Film Industry----------------------------------------------------97 Tradition meets ‘The New Wave’: Korean Realism and the New Wave Movements------------103 Localizing European Aesthetics: Ha Gil-jong’s Heavenly Homecoming to Stars II (1978)-----108 Commercialization of Prostitute: Hostess films of Lee Jang-ho and Kim Ho-sŏn ---------------114 Conclusion: The Legacy of The Era of Image and Prostitute-Themed Sub-Genre Films of the 1980s---------------------------------------------------------------------------------------------------------121 Chapter Five: Industrializing ‘Hostess Sexuality’: Advertising, Stars and Sex Culture--------------------------------------------------------------------------------------124 vi The Depression of the Korean Film Industry and Changes in Audience Demographics---------126 The Marketing and Advertising Strategies of Hostess Films-----------------------------------------129 Media Construction of Hostess Culture: Sunday Seoul-----------------------------------------------140 The Era of ‘Hostess Stars’: The New Troika-----------------------------------------------------------145 Chapter Six: Epilogue and Conclusion-----------------------------------------------154 The
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