Masculinity and ‘Two Bodies’ of Korean Jo-Pok Comedy I want to consider that Jo-Pok’s masculinity of Korean Jo-Pok comedy is represented by two bodies that are obedient/productive body and resistant/deviant body. National power monopolizes violence, Jo-Pok wants to imitate the national power and violence. Desire of imitating has three factors, they are a subject, an object and a rival. An extent of Jo-Pok’s desire of imitating continues to be extended, and normal person’s desire of imitating after Jo-Pok also continues to be extended. Because of this expansion of desire of imitating, Jo-Pok becomes the national power’s double and the normal person becomes Jo-Pok’s double, thus differences between them disappear and it brings about a crisis of violence. Thus community needs the sacrificium that imputes the violence to one person, and spots Jo-Pok as a sacrifice. From a view of generic evolution, the ambivalent character of Jo-Pok is the combination of right protagonist and wrong antagonist in the former action films. Jo-Pok is in a boundary of community and plays the two roles that are a criminal and a hero. First Jo-Pok becomes a deviant hard-body that confronts himself with a normal soft-body, and second Jo-Pok becomes a righteous hard-body that confronts himself with a wrong hard-body. On the one hand Jo-Pok is a national power’s double and a sacrifice, and on the other hand Jo-Pok is a carnival’s king and a hard-body of anti-hero. Jo-Pok’s two bodies continue to create another type’s dualism.

Masculinity and ‘Two Bodies’ of Korean Jo-Pok Comedy I want to consider that Jo-Pok’s masculinity of Korean Jo-Pok comedy is represented by two bodies that are obedient/productive body and resistant/deviant body. National power monopolizes violence, Jo-Pok wants to imitate the national power and violence. Desire of imitating has three factors, they are a subject, an object and a rival. An extent of Jo-Pok’s desire of imitating continues to be extended, and normal person’s desire of imitating after Jo-Pok also continues to be extended. Because of this expansion of desire of imitating, Jo-Pok becomes the national power’s double and the normal person becomes Jo-Pok’s double, thus differences between them disappear and it brings about a crisis of violence. Thus community needs the sacrificium that imputes the violence to one person, and spots Jo-Pok as a sacrifice. From a view of generic evolution, the ambivalent character of Jo-Pok is the combination of right protagonist and wrong antagonist in the former action films. Jo-Pok is in a boundary of community and plays the two roles that are a criminal and a hero. First Jo-Pok becomes a deviant hard-body that confronts himself with a normal soft-body, and second Jo-Pok becomes a righteous hard-body that confronts himself with a wrong hard-body. On the one hand Jo-Pok is a national power’s double and a sacrifice, and on the other hand Jo-Pok is a carnival’s king and a hard-body of anti-hero. Jo-Pok’s two bodies continue to create another type’s dualism.

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masculinity, two Bodies, Jo-Pok, comedy, sacrifice, hard-body, soft-body, anti-hero, action film, violence, double, dualism, 2000’s