从《熔炉》到《世界的主人》：韩国电影不再愤怒了？

Core Insights - The article discusses the success of the independent film "The Master of the World" directed by Yoon Ga-eun, which has gained attention at international film festivals and achieved profitability in a challenging domestic market for Korean cinema [1][2] - The film represents a shift in the narrative of social problem films in Korea, moving from a focus on systemic critique to individual experiences and emotions [2][7] Group 1: Film Overview - "The Master of the World" tells the story of an 18-year-old girl, Lee Jooin, who chooses not to sign a petition against sexual violence offenders, leading to a narrative about trauma, loneliness, and re-experiencing the world [1][2] - The film has been recognized for its significant contribution to Korean cinema, receiving the "Female Filmmaker Award" from a women's organization [1] Group 2: Narrative Shift in Social Problem Films - Traditional Korean social problem films like "The Crucible" and "Silenced" focus on systemic injustices and often feature adult characters as the narrators of social issues [2][3] - "The Master of the World" reverses this trend by allowing the protagonist, a young girl, to express her feelings and experiences, thus shifting the narrative power from adults to the victims themselves [5][6] Group 3: Changes in Audience Perception - The article notes a significant decline in the production of social problem films in Korea, attributed to changes in audience psychology and a shift from collective outrage to individual survival [12][13] - The pandemic has exacerbated this trend, leading to a reduction in the production of socially themed films as the market shifts towards more mainstream content [13][15] Group 4: Broader Context of Social Problem Films - The emergence of social problem films in Korea can be traced back to the 1990s, where they resonated with audiences seeking social reflection and critique [12] - However, the genre has faced challenges in recent years, with a notable decline in both production and audience engagement, as viewers become fatigued with grand narratives of social justice [15][18]