作為民族電影的韓國電影，是通過對男性氣質的焦慮與重構的探究，來進入對韓國自身充滿創傷的現代化歷程的回應與審視。美籍韓裔學者金慶賢認為1980-2000年間的韓國新電影有著顯著的「再男性化」趨勢，本文在此基礎上對新世紀之初開始電影創作的「新韓國電影」導演奉俊昊的代表作《殺人回憶》（2003）進行檢視。在精神分析的視域下，本文從男勢的焦虑與缺失以及與男性相對的女性主體兩個方面，來探討這部影片對再男性化的叩問與質疑。影片中未能告破的連環殺人案所隱喻的正是對韓國男性氣質恢復的無限懸置。同時，奉俊昊的電影在「母親─妓女」、「施虐─受虐」的二元關係之外所塑造的新的女性主體形象成為韓國電影新主體建構的一個重要組成部分。近年來，更多的新韓國電影開闢出了挑戰傳統性別秩序、重構社會主體的想像空間。

By representing masculine anxieties and its rejuvenation, Korean cinema as a national cinema delves into the country’s traumatic modernization process. Korean-American scholar Kim Kyung Hyun (2003) argues that New Korean Cinema of the 1980s-2000s has underwent a significant trend of remasculinization, which sheds light on the discussion of Bong Joon-ho’s acclaimed film, Memories of Murder (2003), in this article. Through the lens of psychoanalysis, this article explores how the film critically questions the role that masculinity and remasculinization plays in the national modernization from two aspects-the male anxiety and female subjectivity. The unsolved serial murder case in this film serves as a metaphor for the suspension of Korean masculine rejuvenation. Meanwhile, the female characters in Bong Joon-ho’s films who defy the mother/whore and Sadism/Masochism binaries become the key component of the construction of the new subjectivity in Korean cinema. Recently, more New Korean films, like Bong Joon-ho’s, challenge the traditional gender order and reconstructs the subjectivity of contemporary Korean society.