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This paper aims at examining the star system in the Korean film history from the middle 1950s to the middle 1960s. More specifically, it is to portray the landscape of the star system in the Korean film world in 1950s and 1960s through the discourse on the 'attached star system' or the 'attached actor system.' This kind of Korean star system appeared spontaneously as individual film industry demanded interiorly, and at the same time it was forced as the policy called. As the Hollywood star system is inseparable from its studio system, the attached actor system can also be examined along with the context of the film industrialization policy in Korea at that time. Due to the attached actor system and regulations in 1950s and 1960s, the topography of the Korean film world can be described with the major productions to answer the policy versus the individual productions without legitimate qualification.
The Korean film industry in 1950s dreamed of, as it is called, the Hollywood studio system. Although the dream continued in 1960s as well, the desire for the film industrialization became a project incomplete. When the number of productions reached over 100 films in 1959, the production companies demanded to guarantee the stars according to the increasing number of films, and drove forward the attached star system under the necessity of their own. So called the 'franchised theaters' centering around Kook-je, Kook-do, Myung-bo and Sudo Theaters which were specialized as the first run theaters in Seoul since 1958 were established, when realizing the 'attached star system.'
The Korean film industry of the middle and late 1950s put the star system in operation as the internal demands with dreaming of the studio system and as the market incentives, while the national policy cal1ed the film industrialization was intervened to enforce the 'attached actor system' artificial1y in the early and middle I 960s, which brought the conflicts with the reality of the film world. When the Motion Picture Law was promulgated in March 1962, the topic of the Korean film world to conform to the national film policy of the military regime was the film production aiming at modernization.
Although 18 production companies competitively enforced the attached star system according to the policy of the Ministry of Publicity after the enactment of the Motion Picture Law in 1962, it ended up with the perfunctory system only for none-stars to become attached to companies. Never did disappear the side effects that the most of stars in leading parts starred at least 5-6 films at the same time. As the amendment of the Motion Picture Law in 1963 forced the production companies to equip synchronous recording systems but postponed enforcing, the artificial regulation on the attached actor was also an impossible project to be realized. The attached actor system which had remained for 5 years on the Law was finally abolished after the second amendment of the Motion Picture Law in August 1966.
The Korean film industry in 1950s dreamed of, as it is called, the Hollywood studio system. Although the dream continued in 1960s as well, the desire for the film industrialization became a project incomplete. When the number of productions reached over 100 films in 1959, the production companies demanded to guarantee the stars according to the increasing number of films, and drove forward the attached star system under the necessity of their own. So called the 'franchised theaters' centering around Kook-je, Kook-do, Myung-bo and Sudo Theaters which were specialized as the first run theaters in Seoul since 1958 were established, when realizing the 'attached star system.'
The Korean film industry of the middle and late 1950s put the star system in operation as the internal demands with dreaming of the studio system and as the market incentives, while the national policy cal1ed the film industrialization was intervened to enforce the 'attached actor system' artificial1y in the early and middle I 960s, which brought the conflicts with the reality of the film world. When the Motion Picture Law was promulgated in March 1962, the topic of the Korean film world to conform to the national film policy of the military regime was the film production aiming at modernization.
Although 18 production companies competitively enforced the attached star system according to the policy of the Ministry of Publicity after the enactment of the Motion Picture Law in 1962, it ended up with the perfunctory system only for none-stars to become attached to companies. Never did disappear the side effects that the most of stars in leading parts starred at least 5-6 films at the same time. As the amendment of the Motion Picture Law in 1963 forced the production companies to equip synchronous recording systems but postponed enforcing, the artificial regulation on the attached actor was also an impossible project to be realized. The attached actor system which had remained for 5 years on the Law was finally abolished after the second amendment of the Motion Picture Law in August 1966.
목차
1. 들어가며
2. 1950년대 영화산업과 ‘전속스타제’
3. 1960년대 영화법과 ‘배우전속제’ 규정
4. 나가며
참고문헌
Abstract
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