Confucian traditions subjugated women as part of the lower subclass. With the outcome that women have been treated as an iconography, captured in literature and films, these women were portrayed as tragic yet virtuous, to be revered as the embodiment of Confucian ideal. Kim Jungsun deconstructs the images of film heroines in her paintings and drawings. Kim empathy for the heroine is clearly evident in the manner in which she creates the images of the actresses in monotone oil paintings and drawings in graphite. The faces of these actresses have no distinguishing identities at first glance difficult to recognize as individual characters. The ethereal images peer out of the darkness and penetrate the space with their insistent presence. These images can be interpreted as the Confucian iconographic woman who lacks the identity of an individual person. Confucians expect all women to possess the same qualities and aesthetics. On closer inspection, the images depict different faces with expressions that suggest individual character of a woman. Kim introduces us to the traditional construction of the female icon, one that is proffered by the Confucians, whose objective it is to maintain certain image of the obedient, self-sacrificing woman as the feminine ideal. Kim constructed images encourage the viewer to reinterpret the traditional images of Korean heroines who quietly suffered abuses and endured their environment of unthinkable violence with dignity and acceptance. Films like Ssibaji (the word, literally translated, means "seed receiver") serve as inspiration for Kim's images, which exposed the realities of lower-class women as slaves and surrogate baby producers in a traditional Confucian society. Chunhyang, a blockbuster film of 2000 depicts as the central figures a virtuous woman from lower class (ha-in) and a benevolent man of the upper class (yangban) who through trials and tribulations are rewarded for their exemplary Confucian morals. The implication of these types of films is that women should continue to aspire to become more like the heroines of the films and make sacrifices for the benefit of men. Kim questions the perpetuation of the myths of these fictional women as a feminine ideal. As women without a voice, the heroines of these films have become a stereotype that defined the Confucian era. As long as popular culture continues to promote the traditional concept of the ideal Confucian woman, women will be faced with the difficult challenge of redefining the image of women to better reflect contemporary reality. There have been encouraging indications that societal preferences are leaning toward images of strong, assertive women in the media. These new emblematic women represent an antithesis of the iconographic images of the meek Confucian woman of the past that have had to live and die by the word of men.