As cultural changes are reflected in cinematography, so does the changing perception of gender influences movies. Over the course of the last century, societies have seen drastic changes in the perception of gender roles. A common opinion that gender stereotypes are still prevalent is countered with a belief that modern understanding of male and female roles has evolved. Few mediums reflect this change as accurately as the film industry. The concept of the essay is that gender politics in society is reflected in contemporary cinematography. The thesis of this paper is that the movie Madame Freedom showcases changes in public perception of gender roles in South Korea, thus supporting the concept of the importance of cinema in understanding gender politics.
Madame Freedom is an important movie that signifies the era of change that South Korea witnessed in the 1950s. Korean society was straightforward in its understanding of gender roles, which required men and women to behave within strictly defined patterns. Madame Freedom presents a different outlook on gender expectations – instead of accepting her fate as an obedient housewife, the main character, Oh, chooses to explore her sexuality and interests outside of her family. Meanwhile, her husband, Chang, is also entertaining an idea of a relationship with another woman. Although the family does enter an extremely turbulent phase, the movie is not presented as a direct critique of any of the behaviors – in fact, the open-ended conclusion suggests different interpretation of characters’ actions.
However, the plot of the movie is not the only aspect that caused such an emotional reaction in South Korea at the time. Madame Freedom uses both literary and visual devices to signify its stance on gender roles. First, the characters’ apparel serves as a symbol of changing attitudes. In the first part, of the movie, Oh wears traditional Korean attire as do other women in a social gathering (Madame Freedom 15:34). The clothes in this scene are important because of its social message – the women that are present are wives of high-status husbands. Their attire is made of high-priced materials, such as brocade and velvet, which indicated the economic power of their husbands as well as their dependency on them (Yoon and Yim 8). However, as the film progresses, Oh’s apparel changes to Western-style dresses accompanied by colorful make-up. It is important because Oh simultaneously explores other areas of life, which are not predetermined by strict gender roles. As she starts to accept her feminine attractiveness and explore her own desires, her clothes become less traditional and more Westernized.
Women’s leisure is another visual symbol of changing attitudes and gender roles. As Western influence increased in prominence, women’s pastime became more diverse. The movie also reflects this change, although at no point is it directly stated. For example, married women dance with other men, with some wearing revealing dresses, which are especially apparent during the dance party in the final part of the movie (Madame Freedom 1:50:18). The same party showcases women drinking alcohol, signifying that it is an accepted behavior. An earlier scene shows a woman smoking while dining with a man (Madame Freedom 1:21:18). All of these behaviors are visual clues to Korean society embracing the new understanding of gender roles. Not only are they entertaining themselves with activities, which were previously associated primarily with men, but they also explore different expressions of their feminine identity.
The literary device used in the narrative is a metaphor, which conveys the message that Oh undergoes the process of liberalization. Not only do Oh’s apparel, job, and interests change, but her demeanor and movements evolve as well over the course of the movie. She starts as extremely reserved in her gestures, as it is evident in the first domestic scene (Madame Freedom 2:59). As she acquires a new job and starts flirting with a neighbor, her body language becomes more dynamic. The scene where she learns a Western dance is also a metaphor in itself referring to her exploration of her inner desires (Madame Freedom 42:58). Towards the movie’s end, Oh is relaxed, playful and is willing to accept a man into her personal space (Madame Freedom 1:55:53). This entire character progression is a metaphor referring to Oh’s personal liberalization as well as the liberalization of Korean women in general.
Subsequently, Madame Freedom presents an accurate reflection of South Korean society in the 1950s. Women’s choice of clothing, leisure activities, and overall behavior changed significantly, all of which was accentuated by the movie. Therefore, it is important to analyze movies to understand the contemporary opinion of society regarding gender roles. This trend is also relevant for the Western cinematography, which has also experienced a drastic change in the representation of women (Itmeizeh and Ma’ayeh 29). Traditional meaning of femininity has evolved into a mix of characteristics that pertain to both men and women. Even though the debate on gender inequality is ongoing, the examples from the film industry show that societal gender expectation have changed and continue to evolve.
In conclusion, this essay connects the presentation of women’s behaviors in Madame Freedom to the overall idea that the film industry is accurate at depicting current gender politics. Not only is it evident in Korean society, as Madame Freedom proves, but it is also true regarding the Western society as well. Altogether, it is essential to look at the representation of men and women in cinema to understand the current social attitudes towards gender politics.
Works Cited
Itmeizeh, Mahmoud J., and Sandra Ma’ayeh. “The evolution of gender roles and women’s linguistic features in the language of Disney.” Evolution, vol. 36, 2017, pp. 29-38.
Madame Freedom. Directed by Han Hyung-mo, performance by Park Am, SamSeong Film, 1956.
Yoon, Jinyoung, and Eunhyuk Yim. “Symbolic Meanings of Women’s Dress on Korean Film< Madame Freedom> from the Fifties.” Fashion and Textiles, vol. 2, no. 1, 2015, pp. 1-15.