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Through the relegation of the political crisis onto the body, recent Korean blockbusters have dealt with masculinity. In <Silmido> <Taegukki> <Welcome to Dongmakgol> and <King and the Clown>, every heroes are destroyed and killed by themselves. But where is the woman's place in time of their suicidal gesture in Korean blockbusters? In <Marathon> <Marrying the Mafia 2> <Mapado> <Sympathy for Lady Vengeance>, there is new phenomena, namely the return of women as an ‘angelic mother’ or a ‘phallic mother.’ The fear of the mother's power, spilling out into the public sphere and not safely confined within the home, that such a social situation re-evokes on the unconscious level feeds into the production of the hated, controlling figure. These films repress any attention to the mother. This shows the patriarchal bias of the film. Instead of showing the pathos of our human condition, this suggests an arrested desire for the mother. Particularly, it is a desire for subjection to her masked of fear. Monstrous mother image threatened an asymmetrical, irrational, uncontrollable power. In hysterical motherhood film, <Sympathy for Lady Vengeance>, the heroin Lee GumJa is both an angelic and phallic mother. GumJa's terror has to do with her fear of losing her daughter. It is the ideological underpinnings of the way Oedipal anxieties are resolved that is often overlooked. Nevertheless, the repetition of negative mother fantasies, and of the need for male savior, perpetuates mythic stereotypes that tell only one of many possible mother stories. So, it is need for developing Mothering theory which could explain recent Korean cinema.