Kim Ki-young and The Housemaid (Hanyo) Trilogy: The Remake as a Tool for Political, Historical, and Social Analysis (South Korea, 1960–1982)
Abstract
Kim Ki-young (1919–1998) is one of the most significant filmmakers in Korean history, and his filmography has recently drawn the attention of critics and scholars, leading to a profound reevaluation of his work. Among his most important films is The Housemaid trilogy. The second and third parts of the trilogy are remakes of the original film, exploring the social changes in South Korea over two decades. This article examines the trilogy through discourse analysis to observe how Kim employs the remake as a tool to document social transformations. The findings highlight Kim’s analytical prowess, as his films reveal the widening social and economic divide in the country during its industrial development. Rather than using remakes for commercial purposes, Kim establishes them as a cinematic tool for social study.
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