Korea's Image of Women: Endurers of Suffering?

I found an interesting correlation between the portrayals of women in the forms of Korean media we have studied thus far. It's pretty neat because it seems so different from what one would expect of a Korean (or any culture's) image of women… As the article on Feminism focused on "how and why popular culture and the mass media have dealt with women and their representations in an unfair, unjust and exploitative manner" (Strinati, 160), one might think of the usual stereotypes—domesticated house wife, dependent on males, helpless, weak, their bodies depicted as objects, etc.—of women. It's amazing, however, that I did not necessarily find these stereotypes as apparent in Chun-Hyang, Goong, and Soppyonje.

I was first struck by CLAMP's comic book rendering of the story of Chun-Hyang. The yang-ban’s son says "She may be the honorable mudang of koriyo, Wall Mae… but she is still just a woman" (CLAMP, 48), an obviously sexist thing to say. Immediately I thought, 'Is this the image of women in Japanese or Korean society?' But I came to realize that there was a whole different image contradicting this. An obvious side is how Chun-Hyang is illustrated as defying all cultural or stereotypical norms of a girl—being rambunctious, outspoken, daring, and independent… but that may have just been the comic book version of the story. From what I know of the "actual" (I don't know if there even is an "actual" story, hence the quotation marks, since I know so many different version of the story exist… so correct me if I'm wrong but…) tale, Chun-Hyang is forced to endure a lot of pain and suffering for choosing the "righteous" path—that is, remaining loyal to Mong-Ryong despite his absence and despite the temptations presented to her by the other government official. Also presented (in CLAMP's version of the story) is a parallel theme within Chun-Hyang's mother; despite the death of Chun-Hyang's father, Chun-Hyang's mother chooses to remain chaste, preferring suicide over remarriage.
Anyways, what I'm trying to get at is that there is this ongoing image of women and how they, throughout history, have had to endure much suffering (' han'?). More than having a typical sexist view of women as inferior, I find that a lot of the Korean media we have looked at in this course have, on the contrary, revered women for their strength and endurance of the sufferings and oppressions they have faced.

Look at another example, Goong. We have already discussed the element of self-sacrifice evident in the main heroine's decision to marry the prince, against her will, for the benefit of her family. This image of the female character is more respectable, than degrading (despite her having to live a "domestic" life in the palace or, in the drama's case, give up her dream of becoming a fashion designer).

Im Kwon-Taek's Soppyonje, I feel, epitomizes my observation. We see the dramatic climax in the final scene between Song-hwa and her brother and, as we discussed, the meaning of the word 'han'. I'd like to draw attention mostly to the parallel between her and her singing the p'ansori version of the Korean folktale of Simchong. Both Song-hwa and Simchong submit to a sacrifice of some sort in order to fulfill the duty of a filial daughter. It's interesting how in this tale, and many other Korean folk tales, women are portrayed as heroines or main characters (ex. Chun-Hyang or Chae-Kyung). Simchong They are regarded as heroines for their endurance and for their strength in the face of adversity.

I'd like to tie this in with a book I've read by Sook Nyul Choi, titled "Year of Impossible Goodbyes". Perhaps some of you have heard of it or even read it… if you haven't, I HIGHLY recommend it, it's a really easy read (I read it back in elementary school) but it's both interesting and informative. If you're into Korean history, it's definitely a must-read! ANYWAYS… to give you just a gist of it, the story follows the life of a young girl in Korea during Japanese colonization and all the adversities she and her family faced during this time. Her brothers are off at a training camp and her father is away at some resistance movement while she is at home with her mother and her aunt. Despite all the cruelties the Japanese soldiers impress upon them, these women endure and continue to struggle to survive without the presence of men to protect them. One scene in the book describes how the Japanese deceived the Korean citizens by selling them a sack of rice which was actually half filled with sand, making the sack seem heavier and more valuable. Throughout the story, the Japanese soldiers constantly harass the girl's mother and the women working in their sock factory, and in the end the women are taken away to be "comfort women"… etc… The novel is fiction, but the events are also autobiographical, which brings me to my next point.

In Korean culture, because of its history and background, there is an underlying understanding of the importance of women to society… perhaps the general population as a whole has a different outlook altogether compared to cultures that have not experienced these same events in their pasts.

What is Im Kwon Taek's deal?

I am completely shocked and appalled after watching Chuhyang the movie. I was excited after reading the comic – the Chun Hyang character so feisty and strong, portraying such a positive image of women. I was not expecting what I saw in the movie. I am hoping the different direction the movie took from the comic book is due to the need to please an older age group. Assuming that the movie was targeted to an older crowd (looking at the sex scenes), perhaps Im Kwon Taek thought in order for the storyline to be more relatable to his audience, stereotypical gender roles would have to be followed. This is good news for the younger generation, whereas in the comic book more pro-feminist characters are written.

In the comic book I was impressed that the two main female characters are indeed strong role models for girls. The mother is a highly respected medicine woman. She is extremely kind, opening her home to Myong Rong, and consistently supportive and affectionate of her daughter, Chun Hyang. The mother asserts herself and her own self-respect by killing herself when faced with the Yang Ban’s foreseeable rape. She raised Chun Hyang to be a strong, self-reliant girl even at a very young age. Never to be pushed around, Chun Hyang is always willing to speak up or physically fight when she does not agree with what is going on.

Unfortunately these powerful characters were not translated to the film. The mother is not a medicine woman, but instead a courtesan, a less than honorable position. The warmth of the comic book mother is gone, and she constantly reminds her daughter to submit to men in powerful positions. Chunhyang complies with her mother when Myong Rong asks her to marry him. She does not seem interested in him, pushing him away, having him forcibly remove her clothing. What surprised me the most was after they had sex, Chunhyang was suddenly in love with him! This sends a very dangerous message to viewers that there is nothing wrong with violence against women and that “no” really means “yes.” Along with their morbid courtship, I was sickened to see Chunhyang completely fall apart when Myong Rong told her he had to go to Seoul. She was weak, whiny, and perpetuating the stereotype that women are “emotional” and “crazy.” The only time Chunhyang had any strength in the movie was while being beaten for not sleeping with the new governor, she did not break down and give consent. Her strength came through her love and “duty to serve” her husband. The Chunhyang character sustains that women are subordinate to men, modest, and chaste.

What a disappointment the film was. Although I already speculated before why the comic book and movie contain such different storylines, why else would Im Kwon Taek choose this route?

Goong's Popular Wave

The fictional story of Goong is one that fascinated and enthralled Korean media viewers and readers with no prejudice to age. It is a story that "re-imagines" Korea, pretending that the Japanese Colonial period did not exist and that the Korean monarchy still reigned. This fiction glorifies what once used to be the Korean monarchy and with it the treasured but often neglected traditions of this prideful country.
It evokes nostalgia and pride for the older generation as they reminisce the time before they had to endure intrusion of the Japanese in their country. There is still a large number of Koreans who still feel passionately hateful towards the past Japanese Colonial period and wish that it had never happened; Goong fulfilled that wish. It is understandable why the older generation that would be expected not to be so zealous towards a drama or a comic book to be so heartwarming towards Goong and feel it to be such an endearing story.
Although the older generation feels a connection to the story of Goong, the younger generations who were born much after the Japanese Colonial period and would only learn of it from their parents or from textbooks were also intrigued with the drama. Of course they were attracted by the attractive actors in the drama or the beautiful drawings of the comic book and their generation is highlighted by the active media in their society, but if the content of the drama or the comic was substandard it is unlikely Goong would have drawn so much attention from them. The reason behind their adoration for the story could be traced to a trigger in their interest in their country's history for it arose not in the context of a tedious textbook, but a drama and a comic book, which they take up on their free time for their own enjoyment.
Goong called into importance the history of Korea, catching the attention of a wide range of audience. The older generation who remembered the Japanese Colonial period and wished to erase it from Korea's history felt a special connection to the story. The younger generation's interest was stirred by the resurrection of a distant time in their country's history they did not relate to and only learned about from older generations and from their schools. However, would this interest still be the same if the story of Goong was presented in the future when the older generation that could relate to this story was no longer existent and the younger generation no longer even heard about it from older generations? Would the younger generation feel it is too much of a distant past that does not seem relevant to them or even real to them? Also, is the story of Goong just something of a temporary interest like a new pop song by a new debuted artist?

Coffee Prince: Views on Gays in Korea

Just recently I finished a drama series that many people have heard of including my mom. (She's the one who suggested it to me.) The series is called "Coffee Prince" and is pretty much follows the (love)life of a girl who many mistake for boy and the opening of a coffee shop called the Coffee Prince.
This is a typical drama in the sense that there is a complex web of who likes who and the conflicts between all of those relationships. The twist in this movie is that the main character, who is a girl, is mistaken for a boy. A wealthy man (Han Kyul), who originally hires her Eun-Chan (thinking she's a man) to be his lover to get out of blind dates his grandmother sets up, hires her again (not knowing she's a woman) to work at Coffee Prince, and then falls in love with who he thinks is a man. Han Kyul is not gay but is falling in love with Eun-Chan thinking she is actually a he.
So Han Kyul tries to get over Eun-Chan because he doesn't want to be gay, but ends up professing his love to her. While the two are together Han Kyul still struggles with the fact that Eun-Chan is a man, but because he loves her so much, he's happy anyways. Then, he finds out that Eun-Chan is actually a girl. Of course he's initially upset because she lied to him about being a male so his trust in her takes a blow, but eventually he's happy to be with her as a woman. He keeps on saying "I'm glad you're not a man." when he finds out about her real gender.
I know Korea to be not conservative to gays, and I still think that generally holds true. Although Han Kyung professes he likes Eun-Chan when he thinks she's a guy, he's very relieved when he finds out otherwise. Yes the drama brings being homosexuality into the forefront, but it is something that seems to be dreaded in the drama as well as in the Korean culture. The drama shows that Korean pop culture has started to be more aware, but I have yet to be convinced that the culture is accepting of homosexuality.
What do you think?

Chastity and Chun Hyang

I found Clamp’s The Legend of Chun Hyang to be a fascinating representation of a Korean tale about chastity and loyalty. I was unsurprised to find that Chun Hyang had been injected with brimming self confidence and combat ability, because this makes her a classic comic book hero/heroine. However, I was somewhat puzzled by the manner in which the authors dealt with themes of chastity in the traditional telling of Chun Hyang. I was surprised that the authors chose to make Chun Hyang so young (fourteen), because her young age itself justifies her attitude towards sex in the comic book. When Mong Ryong (who is given no age but appears 5-10 years older) flirts with Chun Hyang, she seems perfectly justified in retorting the advances of this older guy. Chun Hyang’s reactions to Mong Ryong in relation to her mother and the bathing sisters make her appear juvenile more than they construct her as a role model. I have to wonder whether the authors consciously made Chun Hyang laughably disgusted with sex in parody of the traditional tale.

By contrast, in Im Kwon Taek’s film about Chun Hyang makes the themes of the tale more heartfelt by fleshing out Chun Hyang’s character. In the movie, Chun Hyang has the life of an ordinary person, and she is not above the actions and emotions of an ordinary person (as displayed by the sex scenes). What makes Chun Hyang a heroine is her ability to stay true to her emotions in spite of what other people try to force her to do. Im Kwon Taek’s film is primarily about loyalty and staying true to one’s values more than it is about sex.

On another note, after watching the movie of Chun Hyang, I noticed that the main character of the movie really seems to be the governor’s son, and that I felt much more in tune with the emotions and thoughts of the governor’s son than with Chun Hyang. I felt like there were more close up shots of the male characters, and that Im Kwon Taek revealed the governor’s son’s thinking and personality more than that of Chun Hyang. Did Im Kwon Taek have a reason to do this?