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This work emphasizes three themes regarding film stardom in Korean cinema of the colonial period. Firstly, Chosun/Korean film stars were constructed historically in reference to star images of foreign films, particularly those of Hollywood films. Secondly, the study of star persona should to be examined in relation to industrial formation and sustenance of Chosun/Korean cinema. Thirdly, the meanings of star image must also be explored in, to borrow Im Hwa's terms, "close affiliation with neighboring cultural practices."
In particular, this work pays close attention to the first theme by examining the relationship between Na Un-gyu, arguably the first (male) star of Chosun cinema, and leading actors of Hollywood adventure films that were very popular in the colonial Korea. Na's so-called "picture personality" was strongly influenced by and drawn from such film character as Roleau, the strongman (played by Eddie Polo) in The Broken Coin (Francis Ford, 1915) and also from adventure film stars like Richard Talmadge and Douglas Fairbanks. Na became a film star by appropriating acrobatic and active performance of these American adventure film stars. That said, I contend that Na catapulted into the stardom because the dread of colonial reality was strongly projected upon the character he played. In his films, Na often ends up facing tragic fate, e.g., being imprisoned or exiled by performing the character of excessive "action." This tragic pattern reminded film viewers of the colonial reality. The accompanied Byunsa's oratory performance amplified the viewer's identification with the tragic character even more.
However, Na's popularity faded. As foreign talkie films dominated theaters in the colonial Korea, the demand for new film aesthetics, acting method, and character types became pronounced. By early 1930s, the Korean silent film stars, including Na Un-gyu, often came under criticism for their out-dated "heroic performance." Instead, critics demanded more nuanced and subtle performance of acting. The times have changed, and more versatile and detailed performance for "ordinary" man became the preferred mode of acting. Kim Il-hae, who returned to Korea after playing actors in Japan, emerged as a new film star in the changing circumstances of film culture, aesthetics and acting style. His acting was regarded as "delicate," "rational," "obsessively versatile." And, Kim's stardom meant the replacement of "heroic acting" mode of silent Korea cinema. In short, the advent of talkie pictures in 1935 brought a definitive generational shift in acting in Korean cinema.
Kim Il-hae's "rational" and "delicate" acting in films like Spring in Peninsula, Street Angles shows no traces of Na Un-gyu's histrionicity. Male star persona shifted from the agent who embodied passion for "revenge" and volatility for action to the sensitive man of imperial knowledge and professional expertise. Interestingly, however, the new male could not deal with the pressing social problems alone. For instance, the characters that Kim played, such as scenario writer Youngil in Spring in Peninsula and Pastor Bang in Street Angels, overcome the problems only by taking recourse to outside help. As such, this pattern reflects the masculine malaise and melancholia of the period. Kim Il-hae, the most renown film star of the late 1930s and early 40s, when Korean cinema quickly came under grips of the Japanese militarism, was the man of powerlessness, melancholia, and intellectual malaise on the screen.
In particular, this work pays close attention to the first theme by examining the relationship between Na Un-gyu, arguably the first (male) star of Chosun cinema, and leading actors of Hollywood adventure films that were very popular in the colonial Korea. Na's so-called "picture personality" was strongly influenced by and drawn from such film character as Roleau, the strongman (played by Eddie Polo) in The Broken Coin (Francis Ford, 1915) and also from adventure film stars like Richard Talmadge and Douglas Fairbanks. Na became a film star by appropriating acrobatic and active performance of these American adventure film stars. That said, I contend that Na catapulted into the stardom because the dread of colonial reality was strongly projected upon the character he played. In his films, Na often ends up facing tragic fate, e.g., being imprisoned or exiled by performing the character of excessive "action." This tragic pattern reminded film viewers of the colonial reality. The accompanied Byunsa's oratory performance amplified the viewer's identification with the tragic character even more.
However, Na's popularity faded. As foreign talkie films dominated theaters in the colonial Korea, the demand for new film aesthetics, acting method, and character types became pronounced. By early 1930s, the Korean silent film stars, including Na Un-gyu, often came under criticism for their out-dated "heroic performance." Instead, critics demanded more nuanced and subtle performance of acting. The times have changed, and more versatile and detailed performance for "ordinary" man became the preferred mode of acting. Kim Il-hae, who returned to Korea after playing actors in Japan, emerged as a new film star in the changing circumstances of film culture, aesthetics and acting style. His acting was regarded as "delicate," "rational," "obsessively versatile." And, Kim's stardom meant the replacement of "heroic acting" mode of silent Korea cinema. In short, the advent of talkie pictures in 1935 brought a definitive generational shift in acting in Korean cinema.
Kim Il-hae's "rational" and "delicate" acting in films like Spring in Peninsula, Street Angles shows no traces of Na Un-gyu's histrionicity. Male star persona shifted from the agent who embodied passion for "revenge" and volatility for action to the sensitive man of imperial knowledge and professional expertise. Interestingly, however, the new male could not deal with the pressing social problems alone. For instance, the characters that Kim played, such as scenario writer Youngil in Spring in Peninsula and Pastor Bang in Street Angels, overcome the problems only by taking recourse to outside help. As such, this pattern reflects the masculine malaise and melancholia of the period. Kim Il-hae, the most renown film star of the late 1930s and early 40s, when Korean cinema quickly came under grips of the Japanese militarism, was the man of powerlessness, melancholia, and intellectual malaise on the screen.
목차
1. 들어가는 말
2. 외국 영화 스타와 조선 영화 스타
3. “영웅적 연구” 대(對) “사색의 배우”
참고문헌
Abstract
참고문헌 (0)
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