Bad Woman, Good Woman - Netflix

Song Gun Woo has been living a double life with two women for the past six years. He is married to one woman, Sae Young, and the other woman is his mistress, Suh Kyung. Sae Young is a woman who gets very emotional and cries very easily when someone does great things or say sweet things to her. She wanted to have the perfect marriage, but her husaband and her had difficulty in making a child. She gets shocked after finding out that her husband has been living with another woman.

Bad Woman, Good Woman - Netflix

Type: Scripted

Languages: Korean

Status: Ended

Runtime: 35 minutes

Premier: 2007-01-01

Bad Woman, Good Woman - Winter Woman - Netflix

Winter Woman (Hangul: 겨울여자; RR: Gyeo-ul-yeoja) is a 1977 South Korean film. It is based on a novel by Cho Hae-il which was serialised in the Chosun Ilbo in 1975. The popularity of the novel led to the film being made. Dealing with the sexual awakening of the female protagonist, the book and film earned the condemnation of conservative critics, however the author's leftist subtext went unchallenged overshadowed by the sexual themes. The film was the best selling Korean film of the 1970s, and made a star of its female lead Chang Mi-hee.

Bad Woman, Good Woman - Context - Netflix

In the years around the writing of the novel, the years of the Miracle on the Han River, South Korea had undergone a massive and rapid urbanisation and industrialisation. Led by the military dictatorship the Korean people were seen as a resource to be mobilised to build and strengthen the country. The prostituting of Korean women, especially young peasant women who in previous generations would have worked the land, was seen by the military as a means to earn foreign currency through sex tourism, and as a means of maintaining good relations with American servicemen based in Korea; the continued presence of whom was seen as essential in deterring the North from further aggression. However, this commodification of South Korean women was at a mismatch to the social conservatism of the military dictatorship and the image of the virtuous wife and daughter in Korean Confucianism. The protagonist is of a class not usually the subject of sexual exploitation, and the fact that she does not take money for her services differentiates her from her unluckier sisters. The sexual and social mores of that place and time deny her the right as a woman to be a sexual being in and of herself with the right to pursue sex for her own gratification, instead she must justify her sexuality in terms of the needs of men, as acts of charity. During the Park Chung-hee dictatorship, film making like all other media was heavily censored to disallow open criticism of the regime. Criticism of the military government and the advancing of leftist ideas therefore had to be indirect and by allegory. Of the film genres that enjoyed the greatest latitude was the so-called “Hostess films”, lurid melodramas about the world of the Korean bargirl. Despite the fact that the protagonist is neither the good nor bad girl of Korean films, but combines elements of both, Winter Woman falls into this genre; and perhaps the critics would have found the film less shocking, if despite her background, Yi-hwa had accepted money for her sex work. Metaphorically Yi-hwa is a representative of the bourgeoisie, and awakened to the needs of the proletariat gives that which she can to those in need.

Bad Woman, Good Woman - References - Netflix