특히 <애인>이 구축하는 ‘윤리적 자유’는 사적 욕망에 대한 자율적인 제한의 입법을 통해 출현하는 정치제도로서의 자유민주주의를 함축하는 것이기도 하다. 그러나 그러한 윤리적 자유의 차원만으로 시민성을 획득할 수 있는 것은 아니다. 생존의 욕망을 뛰어넘어 윤리를 추구하는 것이 자유가 되기 위해서는, 생존에 대한 욕망을 추구할 자유가 전제되어야 하기 때문이다. 따라서 1930년대의 <사랑>과 달리 <애인>이 자유민주주의적인 정치적 의미를 획득할 수 있는 것은, 바로 <지옥화>를 콘텍스트로 갖기 때문이라고 할 수 있다.I would discuss the political meanings of the masculinity represented in 1950s' popular narrative, especially in movies. In 1950s, we can nearly meet with Male Shinpa, one of the most important mode of Korean popular narrative. Then, why was that so?
There were two important aspects of deshinpaniztion. One of them was observation of individual struggle for existence, and the other was ethical rising up beyond the struggle. Shinpa is apt to involved in fascism, because it constitutes strong familiar subjectivity, which is similar to fascist subjectivity. Wheres, the cases of deshinpaniztion were implicated in another politics, the liberal democracy. Jiog-hwa(The Flower in Hell) which belonged to the first cases of deshinpaniztion deconstructed shinpa by altered the subject of struggle from family to individual. Ae-in(Lover) which belonged to the second cases approached to the ideal of the liberal democracy by suggesting autonomous ethical subjectivity that is homologous to citizen.