지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
This study focuses on the emergence of yonsekuk stage play mixed with projected moving image. These works played a significant role in the development of the Korean film industry, while also influencing the first Korean film productions.
Korea's first commercialized box-office film was produced in 1923. This action film, entitled Kuk-kyung(The Border), was shown 24 years after film was first introduced into the country. The production of films in Korea provides an illustration of one manner in which modem and foreign influences became a part of Korean culture, after an initial period of assimilation and social scrutiny.
Korea's lack of any film production business for 24 years implies that public acceptance of film had been difficult. However there was a lack of such necessary items as capital, technology, and manpower.
Making of number of yonsekuk has changed this condition. The first yonsekuk, entitled Urijuk-guto(Faithful Revenge), appeared in 1919 and enjoyed a successful run until 1922.
Yonsekuk are a fusion of film and live performance, involving the projection of a film onto screens during the course of a play. In terms of form, the movie screens which were inserted into the play can be considered an element of theater, because the plays only incorporated film to provide a 'moving background.'
However, those screens that at first merely made up the background of the play began to develop theatrical elements of their own, thus bringing the plays closer to a 'cinematic format'.
The importance of yonsekuk in Korea rests in their becoming the basis for film production. Film was first introduced to Korea in 1899 and screenings first became popular in June 1903. Korean society at that time was surprised and largely attracted by what film had to offer, yet in many ways Koreans were not prepared to produce films.
The business of film production requires such equipment as cameras and film, and knowledge of such techniques as developing and editing. Experts who can oversee the process of filmmaking are also needed. However, Korean society could not meet these needs at the time, and therefore film production was out of the question. The audience, on the other hand, having experienced such wonder and interest, desired to watch films that were produced by Koreans.
The number of people calling for Korean films steadily increased, and attempts to satisfy that desire took place in various ways. The production of yonsekuk took the initiative, meeting the needs of the masses as well as testing the potential for a filmmaking business in Korea on a trial basis. Yonsekuk, in some ways, cannot be considered responsible for the introduction of Korean film as they were just a part of theater. The cost of filming yonsekuk was not high, since they were short in length and required no actors. Technical problems were not of great consequence. Nonetheless they became a useful showcase to prepare for the business of filmmaking, enabling technicians to detect difficulties, and allowing entrepreneurs an opportunity to verify the potential for a filmmaking business.
Korea's first commercialized box-office film was produced in 1923. This action film, entitled Kuk-kyung(The Border), was shown 24 years after film was first introduced into the country. The production of films in Korea provides an illustration of one manner in which modem and foreign influences became a part of Korean culture, after an initial period of assimilation and social scrutiny.
Korea's lack of any film production business for 24 years implies that public acceptance of film had been difficult. However there was a lack of such necessary items as capital, technology, and manpower.
Making of number of yonsekuk has changed this condition. The first yonsekuk, entitled Urijuk-guto(Faithful Revenge), appeared in 1919 and enjoyed a successful run until 1922.
Yonsekuk are a fusion of film and live performance, involving the projection of a film onto screens during the course of a play. In terms of form, the movie screens which were inserted into the play can be considered an element of theater, because the plays only incorporated film to provide a 'moving background.'
However, those screens that at first merely made up the background of the play began to develop theatrical elements of their own, thus bringing the plays closer to a 'cinematic format'.
The importance of yonsekuk in Korea rests in their becoming the basis for film production. Film was first introduced to Korea in 1899 and screenings first became popular in June 1903. Korean society at that time was surprised and largely attracted by what film had to offer, yet in many ways Koreans were not prepared to produce films.
The business of film production requires such equipment as cameras and film, and knowledge of such techniques as developing and editing. Experts who can oversee the process of filmmaking are also needed. However, Korean society could not meet these needs at the time, and therefore film production was out of the question. The audience, on the other hand, having experienced such wonder and interest, desired to watch films that were produced by Koreans.
The number of people calling for Korean films steadily increased, and attempts to satisfy that desire took place in various ways. The production of yonsekuk took the initiative, meeting the needs of the masses as well as testing the potential for a filmmaking business in Korea on a trial basis. Yonsekuk, in some ways, cannot be considered responsible for the introduction of Korean film as they were just a part of theater. The cost of filming yonsekuk was not high, since they were short in length and required no actors. Technical problems were not of great consequence. Nonetheless they became a useful showcase to prepare for the business of filmmaking, enabling technicians to detect difficulties, and allowing entrepreneurs an opportunity to verify the potential for a filmmaking business.
목차
Ⅰ. 연구의 목표
Ⅱ. 연쇄극의 등장과 형식
Ⅲ. 연쇄극의 쇠퇴와 영향
Ⅳ 결론: 연쇄극에 대한 평가와 영향
참고문헌
ABSTRACT
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
캐릭터 관계 기반의 비주얼스토리텔링 공간 분석 : 영화 아바타를 중심으로
영상문화콘텐츠연구
2011 .04
-
한국 예술영화 담론의 흐름에 관한 연구
영화연구
2013 .03
-
1960년대 한국영화와 ‘근대적 국민’ 형성과정 : 발전과 반공 논리의 접합 양상
영화연구
2007 .09
-
저예산영화 투자 제작 배급시스템에 대한 연구
영화연구
2003 .12
-
1920~30년대 조선에서의 영화배급
영화연구
2009 .09
-
다큐멘타리〈신의 아이들〉의 사례로 본 비상업영화의 보급현황과 대안에 관한 연구
영화연구
2009 .03
-
한국영화학에서 기술사 연구의 경향과 분야별 사례 연구
영화연구
2009 .03
-
독립 · 예술영화 국제공동제작 사례연구 : 한일합작 <한여름의 판타지아>를 중심으로
영상기술연구
2015 .12
-
영화교육 및 교직과정 연구
영화연구
2004 .12
-
2000년 이후의 아시아 공동 영화 제작 현상에 대한 연구 : 공동제작 프로젝트의 경제 문화논리
영화연구
2013 .09
-
‘文藝映畵’의 함의
영화연구
2010 .06
-
문화영화의 제도화 과정 : 1960-70년대 영화법과 관련 정책 변화를 중심으로
영화연구
2014 .03
-
일제시기 한국영화 스타일 연구 : 발굴된 극영화들을 중심으로
영상기술연구
2012 .06
-
한국영화의 해외진출 방안 연구
영화연구
2009 .12
-
Production Report on the Short Film Family Movie
TECHART: Journal of Arts and Imaging Science
2017 .05
-
한국영화 간접배급구조에 대한 연구
영화연구
2005 .08
-
한국영화 산업 클러스터 정책 연구
영화연구
2008 .08
-
한국영화 자본조달 구조와 유형에 대한 연구
영화연구
2012 .03
-
한국 영화비평의 정치적 무의식에 대한 연구 : 1950년대 후반에서 70년대까지
영화연구
2008 .08
-
한국의 영화시장 개방정책과 이익집단의 역할 : 스크린쿼터 정책을 중심으로
영화연구
2009 .12
이 논문의 저자 정보
이 논문과 함께 이용한 논문
한국영화 基点에 관한 연구 : 최근의 쟁점을 중심으로
조희문
영화연구
1993
.12
우리 영화의 기원으로서 연쇄극(連鎖劇)에 관한 시론
전평국
영화연구
2004
.12
식민지 조선의 발성영화 상영에 대한 역사적 연구
정종화
영화연구
2014
.03
전후(戰後)의 한 · 중 · 일 멜로드라마 비교연구 : ‘불연속 전이성’을 중심으로
이효인
영화연구
2014
.03
소설 〈재능 있는 리플리 The Talented Mr. Ripley〉와 각색영화 비교 연구 : 영화 <태양은 가득히>와 <리플리>의 플롯과 캐릭터를 중심으로
박상혁
영화연구
2014
.03
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-600-011289722