이 글은 한국영화에 등장하는 미국 또는 미국인의 이미지를 실증적으로 검토하고 그 역사적인 흐름을 주제화하는 데 목적이 있다. 미국은 개화기와 일제강점기를 거치며 문명국으로서 의 이미지를 구축했으며, 해방 이후에는 해방자이자 후원자로 인식되었고, 한국전쟁 이후에는 혈맹 이자 우방으로서 여겨졌다. 하지만 1980년 광주민주화운동과 1982년 부산 미문화원 사건 이후 반미 의식이 대중적인 차원에서 나타나기 시작하며, 1990년대 이후로는 혈맹에 근거한 친미의식, 현실주 의적 우호의식, 민족주의에 근거한 비판적 대미인식, 이념에 근거한 반미의식 등으로 다원화ㆍ합리 화되는 양상을 보인다. 2000년대 이후 미국에 관한 급격한 탈신화화와 재신화화가 동시적으로 이루 어지고 있다

The purpose of this study is to practically examine images of the United States and its people in some Korean films and to review the stream of the history as their theme. The United States was perceived as a civilized country in the period of the civilization and the Japanese occupation, as a liberator and a supporter between the liberation and the Korean War, and as a friendly nation through the Korean War. Anti-Americanism began to appear as a public sentiment due to the pro-democracy demonstration in Gwangju(1980) and the burning of the US council in Busan(1982). In the meantime, in 1990s, Koreans' perceptions of the United States which became various and reasonable were divided into pro-Americanism based on the blood alliance, realistic pacifism, more critical cognition based on nationalism, and ideology-influenced anti-Americanism. Also, post-mythology and re-mythology have been in process at the same time since 2000. Anti-communist films which were produced until 1980s reflected the viewpoint that the United States is a blood-allied nation of Korea. The Flower in Hell(1958) shows the US camptown as a heteropia, Life of Hollywood Kid(1994) suggests the United States as a gigantic simulacrum. In the meantime, traditional culture was internally replaced by American GI culture in The Silver Stallion Will Never Come(1991), there is an angry voice toward America and its people in the two films in 1985, Queen Bee and Into the Heat of the Night. Chil-su and Man-su(1988) and Address Unknown(2001) show those who stand on the border between Korea and the United States, Deep Blue Night(1985) and Western Avenue(1993) reveals the destruction of the American Dream through describing immigrants' life of suffering. Finally, in The Host(2006), the 386-Generation’s political unconsciousness is expressed in two forms, rhetoric of mockery and narration of indulgence.

The purpose of this study is to practically examine images of the United States and its people in some Korean films and to review the stream of the history as their theme. The United States was perceived as a civilized country in the period of the civilization and the Japanese occupation, as a liberator and a supporter between the liberation and the Korean War, and as a friendly nation through the Korean War. Anti-Americanism began to appear as a public sentiment due to the pro-democracy demonstration in Gwangju(1980) and the burning of the US council in Busan(1982). In the meantime, in 1990s, Koreans' perceptions of the United States which became various and reasonable were divided into pro-Americanism based on the blood alliance, realistic pacifism, more critical cognition based on nationalism, and ideology-influenced anti-Americanism. Also, post-mythology and re-mythology have been in process at the same time since 2000. Anti-communist films which were produced until 1980s reflected the viewpoint that the United States is a blood-allied nation of Korea. The Flower in Hell(1958) shows the US camptown as a heteropia, Life of Hollywood Kid(1994) suggests the United States as a gigantic simulacrum. In the meantime, traditional culture was internally replaced by American GI culture in The Silver Stallion Will Never Come(1991), there is an angry voice toward America and its people in the two films in 1985, Queen Bee and Into the Heat of the Night. Chil-su and Man-su(1988) and Address Unknown(2001) show those who stand on the border between Korea and the United States, Deep Blue Night(1985) and Western Avenue(1993) reveals the destruction of the American Dream through describing immigrants' life of suffering. Finally, in The Host(2006), the 386-Generation’s political unconsciousness is expressed in two forms, rhetoric of mockery and narration of indulgence.

korean films, United States of America, Representation, Demistfication, American Dream