The emergence of South Korea as an economic super power has coincided with the rise in popularity of the sagŭk film genre. This is surprising because, for decades, sagŭk, a genre of film set in the premodern era based on real historical events and the lives of actual historical figures albeit blended with strong fictional elements, has been marginalized and dismissed as a “dead genre.” In this review, I discuss the dominating operative mode of the sagŭk films, melodrama, and its essential feature of a “space of innocence” to explain its role in resuscitating the sagŭk film genre. I argue that organically emerging spaces of innocence within the diegesis of sagŭk film contributes to its becoming not only commercially viable but also one of the most popular genres in South Korea as well as outside of Korea, garnering global recognition. The space of innocence within the diegesis of recent South Korean sagŭk films is noteworthy in that, unlike a traditional definition, it is not bound to a particular space or time. Instead, an original status of virtue and innocence is manifested in personages in historical fiction. People

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回家：通过 Sagŭk 电影寻找我们的纯真空间

韩国作为经济超级大国的崛起恰逢 sagŭk 电影类型的流行。这是令人惊讶的，因为几十年来，sagŭk 是一种以真实历史事件和真实历史人物的生活为基础的前现代电影类型，尽管混合了强烈的虚构元素，但一直被边缘化并被视为“死流派”。在这篇评论中，我讨论了 sagŭk 电影、情节剧的主导运作模式，及其“纯真空间”的基本特征，以解释其在复兴 sagŭk 电影类型方面的作用。我认为，在 sagŭk 电影的叙事中有机地涌现的纯真空间不仅有助于其在商业上可行而且成为韩国以及韩国以外最受欢迎的类型之一，获得全球认可。近期韩国sagŭk电影叙事中的纯真空间值得注意，与传统定义不同，它不受特定空间或时间的约束。取而代之的是，在历史小说中的人物身上，体现了一种原始的美德和纯真状态。人们