식민지 조선영화에 있어 근대성에의 욕망과 초민족적 경향에 대한 연구

• 영문명: A study on desire to modernity and trans-localism of colonial period Chosun film
• 발행기관: 한국영화학회
• 저자명: 문재철
• 간행물 정보: 『영화연구』제45호, 79~98쪽, 전체 20쪽
• 주제분류: 예술체육 > 예술일반
• 파일형태: PDF
• 발행일자: 2010.09.30

영문 초록

The core principle of the history of Korean cinema was nationalism. In this regard it was inevitable that the films of colonial period were suffered the fate of deletion. But such a reaction would fall under the fantasy of homogeneity. This article does not intend to regard pro-Japanese state films of late colonial period as a mere accident. Rather it was the outcome of colonial characteristics. In other words, they followed their un/conscious desire constructed out of particular historical condition, namely colonial modernity, in volunteering for the production of pro-Japanese state films. The cooperation with the New system was itself a treason. However its historical meaning does not end there. In case of Chosun cinema, the treason eas part of the project to achieve modernity. it was cooperation with Japanese empire, and at same time, it was cooperation with the power named western modernity. It was given circumstance regardless of internal potential of Chosun film.

목차

1. 시작하며

2. 경향파 비평담론의 경우

3. 조선적 로컬리티 담론의 경우

4. 친일 국책영화 제작의 경우

5. 영화적 근대성 성취를 위해

6. 마치며

키워드

Chosun cinema nationality Colonial modernity Pro-japanese state film