CHOSUN

영화 황진이로 본 조선시대 기생분장에 관한 연구 -2007년 장윤현 감독의 황진이를 중심으로

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Author(s)
장현숙
Issued Date
2011
Abstract
Abstract

A Study on the Costume of Gisaengs in the
Chosun Dynasty through the Movie, 'Hwang Jin-yi'
- Focused on the movie, 'Hwang Jin-yi',
directed by Jang Yoon-hyeon in 2007 -

Hyun-Sook, Jang
Advisor :Prof. Sun-Ju, Han ph.D
Dept. of Beauty Design,
Graduate School of Design Chosun University

This thesis is to investigate the costume of gisaengs in the chosun Dynasty, whose cultural codes are similar to those of the modern entertainers leading the trend of the present times. By selecting movies where gisaengs appeared after the 1980s, this study investigated the costume differently expressed by every movie, out of which this study especially analyzed the movie, 'Hwang Jin-yi (2007)' directed by Jang Yoon-hyeon, where the heroine, Hwang jin-yi, was expressed from a different point of view, and comparatively examined it with the other movies.

To comparatively analyze the movie 'Hwang Jin-yi' directed by Jang Yoon-hyeon in 2007, this study selected 7 other movies where gisaengs appeared after the 1980s, such as 'the Diary of King Yonsan (1988)', 'My Dear Keum Hong (1995)', 'Strokes of Fire (2002)', 'Miindo (2008)', 'the Accidental Gangster and the Mistaken Courtesan (2008)', 'Blades Of Blood (2010)' and 'the Servant (2010)', since there was almost no other movie found where gisaengs appeared except those 7 movies.

Speaking of the make-up out of the gisaeng costume characteristics most of all, gisaengs' faces and lips were expressed white and red respectively to show their social position, which is consistent in such movies as 'the Diary of King Yonsan' and 'My Dear Keum Hong' and 'Strokes of Fire'. Starting from Hwang Jin-yi's make-up in the movies, 'the Accidental Gangster and the Mistaken Courtesan', 'Blades Of Blood' and 'the Servant', however, for her facial expression, her facial complexion was expressed as it was in the trend of make-up at the time of each movie production, and her lip color-tone was expressed light through a natural-looking make-up fit for her overall costume. Besides, a smoky make-up used to show Hwang Jin-yi's nobleness was also shown in the movie, 'the Accidental Gangster and the Mistaken Courtesan' under the same influence.

When it comes to her clothes, in 'the Diary of King Yonsan' and 'Strokes of Fire' out of the movies produced before 2007, jade green, dark green and yellowish brown were used for her clothes on the basis of red in expressing gisaengs, proper for the time background, the chosun Dynasty.
In 'Miindo', 'the Accidental Gangster and the Mistaken Courtesan' and 'the Servant' out of the movies produced after 2007, olive green, gold and deep tones and pastel tones were used for her clothes, which were not used for the previous movies except red. Especially, the unique images of each color were expressed more deeply with actors and actresses' profound acting.
In 'Miindo' and 'the Accidental Gangster and the Mistaken Courtesan', Hwang Jin-yi wore black-colored clothes as the movie, 'Hwang Jin-yi (2007)' used as its main hue, showing a modern trendy feature, so that the movies attempted to show her inner emotion as well as her outer beauty as the same time.

Speaking of her hairstyle in the movies, 'the Diary of King Yonsan', 'My Dear Keum Hong' and 'Strokes of Fire', gisaengs' hairstyle having been consistently expressed through historical background research changed to various hairstyles by grafting creative elements and modern styles after the movie, 'Hwang Jin-yi (2007)'.

The movie, 'Hwang Jin-yi' produced in 2007 broke off the stereotyped images of Hwang Jin-yi, which the previous movies had created, and put emphasis on her intellectual images differentiated from those in the other movies, based on the hidden modern feelings, although it was a historical movie. As black was used as the dominant color and green and blue as an assort color for the general tone and clothes in the movie, we can find signs of keeping the dignity of the entire movie and making a harmony of colors at the same time. In other words, it was found that Hwang Jin-yi could look as fascinating as possible without showy colors like red. Breaking off the stereotype that gisaengs should use such colors as red, yellow and jade green and giving variety to colors and materials actually contributed to giving a birth to a new Hwang Jin-yi who has a more sophisticated nobleness. Her hairstyles added with the smoky make-up and creative elements can be evaluated as a new and unprecedented attempt in the previous historical plays or movies, and it has clearly been the groundwork for changing gisaengs' costume in the movies produced after the movie, 'Hwang Jin-yi (2007)'. In addition, it has extensively applied to TV dramas constantly produced as well as movies, bringing about various changes at present.
Alternative Title
A Study on the Costume of Gisaengs in the Chosun Dynasty through the Movie, 'Hwang Jin-yi': -Focused on the movie, 'Hwang Jin-yi', directed by Jang Yoon-hyeon in 2007
Alternative Author(s)
Jang, Hyun Sook
Affiliation
조선대학교 대학원
Department
디자인대학원 뷰티디자인학전공
Advisor
한선주
Awarded Date
2012. 2
Table Of Contents
목차

ABSTRACT
Ⅰ 서론 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 1
A. 연구 목적과 의의 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 1
B. 연구 범위와 내용­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 3

Ⅱ 이론적 고찰 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 5
A. 영화에서의 분장 연구 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 5
1. 분장의 개념 및 종류 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 5
a. 분장의 개념 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 5
b. 분장의 종류 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 6
2. 영화에서의 분장 요소 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 7
a. 영화에서의 메이크업 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 8
b. 영화에서의 의상 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 10
c. 영화에서의 헤어 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 11
B. 조선시대와 기생의 화장, 의상, 머리모양 분석 ­­­­­­­­­­ 13
1. 조선시대 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 13
2. 기생 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 15
a. 기생의 개념 및 유래 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 15
b. 기생의 사회적 신분 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 17
3. 조선시대 기생의 화장 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 19
a. 조선시대 미의 기준 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 19
b. 조선시대 기생의 화장법 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 20
c. 조선시대 화장 산업 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 26
4. 조선시대 기생의 의상 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 27
a. 저고리와 치마의 형태 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 27
b. 저고리와 치마의 색 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 32
c. 기생의 속옷 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 33
d. 기생의 쓰개 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 35
5. 조선시대 기생의 머리 모양 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 38
a. 얹은머리 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 38
b. 쪽 머리 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 39

Ⅲ 1980년대 이후 영화에 등장하는 기생 ­­­­­­­­­­­­ 41
A. 기생이 등장하는 영화 분석 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 41
1. 연산일기(1988) ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 41
2. 금홍아 금홍아(1995) ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 44
3. 취화선(2002) ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 47
4. 미인도(2008) ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 51
5. 1724 기방난동사건(2008) ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 54
6. 구르믈 버서난 달처럼(2010) ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 57
7. 방자전(2010) ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 60
B. 기생이등장하는 영화에 대한 종합 고찰 ­­­­­­­­­­­­­­­­­ 63

Ⅳ 영화 분석 및 영화에 표현된 분장분석 ­­­­­­­­­­­ 68
A. 2007년 장윤현 감독의 영화 황진이 분석 배경 ­­­­­­­­­­­ 68
B. 2007년 장윤현 감독의 영화 황진이 분석 ­­­­­­­­­­­­­­­­ 72
1. 작품분석 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 72
2. 줄거리 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 79
C. 2007년 장윤현 감독의 영화 황진이에 표현된 분장분석 ­­­ 80
1. 영화에 표현된 메이크업 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 80
a. 기생이 되기 전 메이크업 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 82
b. 기생이 된 후 메이크업 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 83
c. 연인이 죽은 후 메이크업 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 87
2. 영화에 표현된 의상 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 88
a. 기생이 되기 전 의상 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 89
b. 기생이 된 후 의상 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 90
c. 연인이 죽은 후 의상 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 94
3. 영화에 표현된 헤어 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 95
a. 기생이 되기 전 헤어 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 95
b. 기생이 된 후 헤어 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 95
c. 연인이 죽은 후 헤어 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 98
D. 1980년대 이후 기생이 등장한 영화들과
2007년 장윤현 감독의 영화 황진이 비교 고찰 ­­­­­­­­­­ 100

Ⅴ 결론 및 제언 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 102

참고문헌
Degree
Master
Publisher
조선대학교 대학원
Citation
장현숙. (2011). 영화 황진이로 본 조선시대 기생분장에 관한 연구 -2007년 장윤현 감독의 황진이를 중심으로
Type
Dissertation
URI
https://oak.chosun.ac.kr/handle/2020.oak/1791
http://chosun.dcollection.net/common/orgView/200000256832
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Art, Design & Physical Education > Theses(Master)(디자인대학원)
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