Ŏmma and ŏmmŏni, meaning “mom” and “mother,” often evoke sentiments of devotion, sacrifice, and strength in Korea. This is such the case that when writing about a possible “cultural icon” for Korea, columnist Kim Seung-kon even suggests the “Korean mother”: a “unique and exceptional” “life-saving force” ceaselessly nurturing, embracing, and comforting. 1 Indeed, as he notes, the mother has “a special place in Korean culture.” Through the trials and tribulations of Korea’s modernity, women-as-mothers have supported the family (and, by extension, the nation) economically and emotionally, and nowhere is this more clearly manifested than in cultural productions—including film. From sentimental melodramas of the golden age 1960s to mystery-noir thrillers of recent times, mothers have been a staple in Korean cinema. Whether glorified, punished, or redeemed, women have been repeatedly represented as sacrificial and life-saving so as to solidify this idea(l) of motherhood. Recently, however, audiences—especially the industry’s most coveted female audiences in their 20s and 30s—have begun to openly express

中文翻译：

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费心看：超越麦当娜的母性伦理责任

Ŏmma 和 ŏmmŏni，意思是“妈妈”和“母亲”，在韩国经常唤起奉献、牺牲和力量的情感。正因如此，专栏作家金升建在写韩国可能的“文化偶像”时，甚至提到了“韩国妈妈”：一种“独特而卓越”的“救命力量”，不断地滋养、拥抱和安慰. 1 事实上，正如他所说，母亲“在韩国文化中占有特殊的地位”。在韩国现代性的磨难和磨难中，作为母亲的女性在经济和情感上支持了家庭（乃至国家），这一点在文化产品（包括电影）中表现得最为明显。从 1960 年代黄金时代的感伤情节剧到近代的神秘黑色惊悚片，母亲一直是韩国电影的主角。无论是荣耀，还是惩罚，或被救赎，妇女一再被描绘为牺牲和拯救生命，以巩固这种母性观念（l）。然而，最近，观众——尤其是业界最令人垂涎​​的 20 多岁和 30 多岁的女性观众——开始公开表达