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
Based on the field of film art, this paper aims to identify the meaningful contribution that Na Ung has made to the history of literature and films of dramatic art by looking through his activities from the late 1920s to the late 1946 by the time he left for North Korea.
The issue raised here is that the achievements Na Ung made for the modern Korean dramas and films have been underestimated, and that his activities shown in the cinema sector have been considerably neglected. For an objective and balanced study on Na Ung, understanding his achievements in the field of films has to be the preliminary but significant consideration.
Results of this research reveal following facts: First, Na Ung has left a remarkable achievement in the history of films during the transitional period of silent films and sound films. His achievements, appearing as an actor in thirteen movies and directing one movie, are worth as much as those of Chun Sa and Na Woon-gyu. Second, Na Ung played a pioneering role in establishing the realistic performance away from the melodramatic acting of ‘Shinpa’. Third, from Mimong (Sweet Dream) and Eohwa (Fisherman’s Fire), it is clear that Na Ung left outstanding achievement in realizing new film techniques and cinematic aesthetics in the changed film－making environments after the sound films were introduced in the mid－1930s.
In order to accomplish a meaningful study, several points need to be complemented in the future research. For one point, films produced during the talkies mostly relied on the Japanese capital and technology. Thus, the relations of the films made in the two countries need to be identified. For another, except for the case of Mimong (Sweet Dream) and Eohwa (Fisherman’s Fire), the limitations of the restricted research, which was only based on the critiques and reviews published in newspapers and magazines, need to be overcome to study other movies. In addition, Na Ung’s activities made in North Korea require closer investigations.
The issue raised here is that the achievements Na Ung made for the modern Korean dramas and films have been underestimated, and that his activities shown in the cinema sector have been considerably neglected. For an objective and balanced study on Na Ung, understanding his achievements in the field of films has to be the preliminary but significant consideration.
Results of this research reveal following facts: First, Na Ung has left a remarkable achievement in the history of films during the transitional period of silent films and sound films. His achievements, appearing as an actor in thirteen movies and directing one movie, are worth as much as those of Chun Sa and Na Woon-gyu. Second, Na Ung played a pioneering role in establishing the realistic performance away from the melodramatic acting of ‘Shinpa’. Third, from Mimong (Sweet Dream) and Eohwa (Fisherman’s Fire), it is clear that Na Ung left outstanding achievement in realizing new film techniques and cinematic aesthetics in the changed film－making environments after the sound films were introduced in the mid－1930s.
In order to accomplish a meaningful study, several points need to be complemented in the future research. For one point, films produced during the talkies mostly relied on the Japanese capital and technology. Thus, the relations of the films made in the two countries need to be identified. For another, except for the case of Mimong (Sweet Dream) and Eohwa (Fisherman’s Fire), the limitations of the restricted research, which was only based on the critiques and reviews published in newspapers and magazines, need to be overcome to study other movies. In addition, Na Ung’s activities made in North Korea require closer investigations.
목차
1. 서론
2. 영화인, 나웅의 간략한 이력
3. 무성영화 시대(1920년대 후반부터 1930년대 중반까지)의 나웅
4. 발성영화 시대(1930년대 중반 이후)의 나웅－사실주의 연기의 선구자
5. 해방 공간의 나웅
6. 결론
참고문헌
Abstract
참고문헌 (37)
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UCI(KEPA) : I410-ECN-0101-2017-810-001337941