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
1. Introduction
Korean film history, propaganda film, Japanese colonial period,. Recently Korean Film Archive shows four films before 1945 and this show encourages the study of motivation about the propaganda film of this period.
Especially the propaganda films are producted by Choshun film artists who are forced to make those films. Therfore these propaganda films are not 'Chinil yonghwa'(cooperative japanese film) but only so-called 'national policy film'. So we seriously discuss about the Japanese friendship of Chosunun film artists.
2. The discuussion of the propaganda film of pre-liberation.
Japan monopolized the capital, thechnology, human efforts of the Chosun film world and they controled the system of film production and distribution Under the situation of the beginning of Chosun film making. Japanese colonial government managed the literature and music of Chosun to prepare on the system of war at first. Continuously they expanded to manage movie. which is totall art not privite arts.
in 1940 they publicationed the law of Chosun film. Also they controled the permission of production, distribution, show business and the regulation of running and imported movie from America and Europe and duty showing America and Euroupe movies. By this law 〈the association of Chosun film production〉 is established on December in 1940.
In this term pro-Japanese films were made by the enforcement of japanese colonial govenment for Japanese Imperial propaganda film. The pro-Japanese film means 'chinil yonghwa' or national policy film. So it is dealed very sincerly that Chosun film artists to participate in making Japanese propaganda film is called the part of Japanese friendship.
3. Revalution of the Chosun film director by 'Korean Auteurism'
By Kim, Sunam's 'Korean Auteurism' the spirit of auteur definited the being of director and it is apeared from the subject of work. and also the spirit of auteur depends on his life which expresss on the his film by the ideology and action of the character. The spirit of auteur and the world of works are discussed in the same level, but the situation of film production make impossible to achive it.
If we concider this reality of japanese colonial period, the Japanese friendship acting by Lee, Kyuhwan, Jeon, Changgeun, Choi, Inkyu etc. must be understood in the different view.
4. Conclusion
I have discussed on the Japanese friendship film and national policy film based on the Japanese colonial policy. Of course this oppinion has several view points by interested person in this study.
But we rethinking that the most Chosun film artists who participating making Chosun film contributed on the development of Chosun film enormously.
Korean film history, propaganda film, Japanese colonial period,. Recently Korean Film Archive shows four films before 1945 and this show encourages the study of motivation about the propaganda film of this period.
Especially the propaganda films are producted by Choshun film artists who are forced to make those films. Therfore these propaganda films are not 'Chinil yonghwa'(cooperative japanese film) but only so-called 'national policy film'. So we seriously discuss about the Japanese friendship of Chosunun film artists.
2. The discuussion of the propaganda film of pre-liberation.
Japan monopolized the capital, thechnology, human efforts of the Chosun film world and they controled the system of film production and distribution Under the situation of the beginning of Chosun film making. Japanese colonial government managed the literature and music of Chosun to prepare on the system of war at first. Continuously they expanded to manage movie. which is totall art not privite arts.
in 1940 they publicationed the law of Chosun film. Also they controled the permission of production, distribution, show business and the regulation of running and imported movie from America and Europe and duty showing America and Euroupe movies. By this law 〈the association of Chosun film production〉 is established on December in 1940.
In this term pro-Japanese films were made by the enforcement of japanese colonial govenment for Japanese Imperial propaganda film. The pro-Japanese film means 'chinil yonghwa' or national policy film. So it is dealed very sincerly that Chosun film artists to participate in making Japanese propaganda film is called the part of Japanese friendship.
3. Revalution of the Chosun film director by 'Korean Auteurism'
By Kim, Sunam's 'Korean Auteurism' the spirit of auteur definited the being of director and it is apeared from the subject of work. and also the spirit of auteur depends on his life which expresss on the his film by the ideology and action of the character. The spirit of auteur and the world of works are discussed in the same level, but the situation of film production make impossible to achive it.
If we concider this reality of japanese colonial period, the Japanese friendship acting by Lee, Kyuhwan, Jeon, Changgeun, Choi, Inkyu etc. must be understood in the different view.
4. Conclusion
I have discussed on the Japanese friendship film and national policy film based on the Japanese colonial policy. Of course this oppinion has several view points by interested person in this study.
But we rethinking that the most Chosun film artists who participating making Chosun film contributed on the development of Chosun film enormously.
목차
1. 여는말
2. 일제말기의 영화가 만들어져야 하는 정책적인 논리
3. 국책영화인 어용영화와 분리해서 평가해야 할 친일영화
4. “한국작가주의론“으로 생각해 보는 친일영화감독들
5. 맺음말
참고 문헌
Abstract
참고문헌 (14)
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