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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 thesis focuses on the legal and administrative controlling measures surrounding Chosun film and its response to them during the Japanese colonial period. The period is described as a so-called black period, suffocating period and purging period as well as the period when the whole colonial Chosun played the role as a supply basis for the imperialism waging war and when nation(Chosun) chose to be incorporated into the state(Japan) overwhelmed by the power of Japan which dreamt of an Asian leader under the pretext of 'Greater East Asia Co-prosperity Sphere'(大東亞共榮圈).
Books on Korean film history neglect much of the period. The main reason is that the films as the primary text hardly remains, and that they question the identities of the films produced at that time, that is, hesitate to incorporate into Korean films the films called a pro-Japanese film, a national policy film and a government-patronized film and also depreciate or deny that films by ideological value judgement, which have made the period left as a blank in the history.
Finding some of the films in the period has recently caused people to take markedly high interest in the relation between the colonial policy of the Japanese imperialism and Chosun films. Together with technical and aesthetic style of the films which are refined and elaborate in their own ways, the straightforward support of national ideology and Fascism by the Japanese imperialism is shocking. Also, the fact that it was done by the famous Chosun directors of those days is perfectly shocking.
What made them produce the films meeting its colonial policy positively? Only the heteronomous elements such as oppression and threat by arms? Or wasn't there a process of their internalizing its logic by themselves? This thesis started from the presupposition that the former and latter elements had interacted, which was confirmed by the 'New Film System' enforced in the period. The system reigned as the duality of the noose for Chosun filmdom and lifeline for them to have to catch earnestly assembling their desire for 'industrializing a film' and necessity for survival properly in a series of processes including a declaration of the Chosun Film Act(朝鮮映畵令), establishing a controlling company and reorganizing the film organs. It was for that reason that they participated positively in a pro-Japanese film, a national policy film, a government-patronized film and internalized the logic of the Japanese colonial policy.
Books on Korean film history neglect much of the period. The main reason is that the films as the primary text hardly remains, and that they question the identities of the films produced at that time, that is, hesitate to incorporate into Korean films the films called a pro-Japanese film, a national policy film and a government-patronized film and also depreciate or deny that films by ideological value judgement, which have made the period left as a blank in the history.
Finding some of the films in the period has recently caused people to take markedly high interest in the relation between the colonial policy of the Japanese imperialism and Chosun films. Together with technical and aesthetic style of the films which are refined and elaborate in their own ways, the straightforward support of national ideology and Fascism by the Japanese imperialism is shocking. Also, the fact that it was done by the famous Chosun directors of those days is perfectly shocking.
What made them produce the films meeting its colonial policy positively? Only the heteronomous elements such as oppression and threat by arms? Or wasn't there a process of their internalizing its logic by themselves? This thesis started from the presupposition that the former and latter elements had interacted, which was confirmed by the 'New Film System' enforced in the period. The system reigned as the duality of the noose for Chosun filmdom and lifeline for them to have to catch earnestly assembling their desire for 'industrializing a film' and necessity for survival properly in a series of processes including a declaration of the Chosun Film Act(朝鮮映畵令), establishing a controlling company and reorganizing the film organs. It was for that reason that they participated positively in a pro-Japanese film, a national policy film, a government-patronized film and internalized the logic of the Japanese colonial policy.
목차
1. 시작하며
2. ‘영화신체제’의 출범과 내용
3. 조선영화(인)의 영화신체제 수용양상과 논리
4. 나오며
참고문헌
Abstract
참고문헌 (15)
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