인도의 한국 영화 리메이크 작품에 나타난 여성 캐릭터의 변화 양상과 그 의미

Abstract

The purpose of this study is to examine whether the phenomenon is related to existence of the ‘new woman’, which has been highlighted in Indian films since the 2010s, as the aspects of remaking Korea culture contents with interest in ‘family narrative’ and ‘gender’ under the influence of the Korean Wave appear in india lately. Noteworthy works in connection with the subject matter are “Jazbaa” (2015) and “Dhamaka” (2021), which are remakes of “Seven Days” (2007) and “The Terror Live” (2013). In “Jazbaa”, the narrative that highlights awareness of crimes against women is strengthened, and as the female professor character becomes more important, the revenge plot expands to publicize the issue of women's human rights. In “Dhamaka”, unlike the original, the power-oriented negativity is strengthened as the director of a broadcasting station is set as a woman, and as a couple melodrama, the adaptation is made to edify the husband through the death of his heroic wife. If “Jazbaa” violates existing values and is reborn as a feminist film depicting solidarity between women, while “Dhamaka” returns to the patriarchal order by focusing on the traditional image-oriented women who play the role of comfort and domestic help.