The Portrayal of the "Modern Woman" in Blue Swallow

"The "new (Korean) woman" rejected the gender performance set out for her by colonial state and Korean national reformers; she wanted to write her own script by crossing gender boundaries and demanding access to knowledge restricted to men, espousing new mentalités, dress, and ideas of female emancipation".  (Yoo, 73)

One of the main topics of discussion surround the controversial film Blue Swallow is its depiction of pilot Park Kyung-Won as the "new, modern woman". Some of the other bloggers in the class have argued that Blue Swallow is a feminist film due to the achievements of Park's character and her ability to break through traditional gender roles. At face value, her character meets the requirements of what it means to be independent and modern (being educated, pursuing a career on her own terms, etc). While there are certainly feminist elements present, to argue that Blue Swallow is a feminist film, I find, is a bit of a stretch for a few reasons.

 

It is my opinion that there are a number of"modern woman" tropes found in Blue Swallow which prevent in from falling into the category of a feminist film. (To place the film under any genre is a daunting task) These tropes are also present in early Chinese film. One is example is what is known as "Mulanism" (a term derived from critiques of the 1939 Chinese film Mulan Joins the Army). This trope perpetuates the idea that in order for a woman to be successful and work in high positions, she must "disguise" herself as a man. The woman who follows male norms should — in order to achieve equal rights — impersonate and effectively become a man. While Kyung Won does not keep her gender a secret, the fact that her masculine appearance attributes to her individuality can definitely be classified as a form of Mulanism.

Yoo's article also describes the modern woman as someone who is ambitious and outspoken against gender inequalities, having a vocal demand for liberation (78). While Kyung Won's character is indeed ambitious, little is mentioned about her struggle in a male-dominant workplace and society. Interestingly, the viewer is presented with an effeminate alternative, Ji Hyuk, who seems to embody the stereotypically female characteristics that Kyung Won is lacking.

All in all, Blue Swallow is an aesthetically pleasing film with an interesting plot line. However, I find the film merely skims the surface of a number of issues surrounding the Japanese occupation. The main criticism of the film is Park's alleged pro-Japanese activities.  When it comes to portraying the "modern woman" as described in Yoo's article, Blue Swallow leaves much to be desired.