일제강점기 조선영화 담론의 선두 주자, 박기채 감독 연구

• 영문명: A study on Director Park Gichae, a Front-Runner in the Discourse of Korean Cinemas during the Japanese Colonial Period
• 발행기관: 한국영화학회
• 저자명: 강성률
• 간행물 정보: 『영화연구』제42호, 7~31쪽, 전체 25쪽
• 주제분류: 예술체육 > 예술일반
• 파일형태: PDF
• 발행일자: 2009.12.31

영문 초록

This thesis is on a director Park Kichae who mainly took an active part in the Japanese colonial period. Park Kichae started to make films in Chosun film scene in the middle of 1930's and was always in the center of film discourses. He directed films for the personal aim to make discourses and practice them. After returning to Chosun from studying in Japan, he made discourses on 'Literary Films' and Talkie while trying to express them by directing his own film entitled Choonpoong. Before Talkie became prevalent, he had made discourses on the industrialization of Chosun film companies, the exportation of Chosun films, the local color, etc. He also tried to give shape his thoughts to Moojeong, another film directed for himself. When Chosonyounghwaryoung(朝鮮映畵令: Korea Film Act) was proclaimed after the outbreak of the Sino-Japanese War, he supported the Act suggesting that the industrialization of Chosun film companies is demanding. Furthermore, he tended to take positive attitude toward pro-Japanese discourses, which is well-represented in the film, Chosunhaehyup. Even in the post-liberation from Japan, he made films supporting the National Police Agency despite being a member of left-leaning organization. He didn't live long but he led a vigorous life. His passionate commitment to films , however, just turn out to be the pro-Japanese activities. In the post-liberation, he couldn't politically define himself between the left and the right, and abducted by North Korea. He had a voracious appetite for making films but he couldn't read the signs of turbulent times.

목차

1. 들어가며-왜 박기채인가?

2. 본론-박기채의 영화 담론 창출과 영화적 실천

3. 나오며-분리할 수 없는 역사와 개인의 관계

키워드

Park Kichae Chosunhaehyup Moojeong literary films talkie pro-Japanese films film discourse