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오시마 나기사 연구 : 그의 사상과 시기별 작품을 중심으로 Focusing on His Thought and Masterpiece
주윤탁 한국영화교육학회 2003 영화교육연구 Vol.5 No.-
This thesis is a study of Oshima Nagisa, that the most widely known of the Japanese new wave directors of the 1960s. Oshima maks each of his films in a different style, which also distinguishes him from such older directors as Kobayashi, Lmai and Shinoda, as well as Kurosawa and Mizoguchi, and OZU. Only Oshima has so frequeutly rejected the mode of the Narrative film and has been, like Susumu Hani, directly influenced by the French New wave. Oshima was to leave Shochiku, which he had joined in 1954, to found his own company. Sozosha at beginning of sixties after 'Night and fog in Japan" had been with drawn from the circuits on political grounds in 1962 Oshima and a number of freelancer Directors, including Susumu Hani, Shoheilmamura, Hiroshi Teshigahara and Shinoda Masahiro formed the ATG,(Art theater guild) to increase their powers of distribution. Unlike Japaness older Directors, whose films focus on the individual and a search for redemption. Oshima more ambitiously seeks to explore "How and to what extent the Japanese people have or have not changed over the course of their History. Oshima is one of the foremost innovators among Japanese film makers today. Rare among film makers of any country, Oshima remains a revolutionary both in his Subject matter and in his struggle to make fuilms within new films.
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주윤탁 한국영화교육학회 2000 영화교육연구 Vol.2 No.-
This thesis aims at examining the methodology of Film Sociology as a field of Filmology. Film has been developed as both an industry and an art. Moreover, from the beginning of film, film has gotten good academic results and has functioned as the most modernized mass-media, a composite art and even a huge industry. The sociological phenomena of film is directly linked with human life. Therefore, the social concerns of film led to the development of the sociological research object. In this thesis, a short look at the history of art sociology and how the film as a popular culture has social function and influence will be examined to study methodological hypothesis. Additionally, the social historic influence of film and the social meaning of viewers' appreciation style will be explored. At the same time, the fundamental proposition of the study of Film Sociology based on both such historic books as George Huaco's "The Sociology of film art" , I.C. Jarvie's "Movie and Society" and a variety of research results will also be examined. Inevitably, this kind of research should have the meaning and the purpose of collecting the basic model for the sociological study of Korean film history. A rational and scientific approach should be required to study Korean film by bringing in the American research style of film which has experienced the far-reaching and in-depth research of film. It would be fortunate if this thesis make a contribution to the increasing development of a rational and scientific research approach to the study of Korean film.
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주윤탁(Joo Yoon Tak) 한국영화학회 2003 영화연구 Vol.- No.22
Japanese cinema during the 1960s, usually called the Japanese New Wave, was a product of the political changes sweeping through the international community. In many countries young people began to challenge the traditional values of their respective cultures as each nation faced the political and social confusion brought on by the human and material damage of World War Ⅱ. The New Wave in cinema can be seen as a phenomena which emerged from the new perspectives and awareness of that time. The New Wave(neuvelle vague) in France as well as cinema in countries such as Italy, Germany, England, Poland, and Japan were characterized by a new freedom emerging from the political and social turmoil of that time. Criticism of the existing traditional cinema was common, placing a new emphasis on originality and independence. It may be said that the 1960s were a turning point for Japanese cinema. A new generation of directors sought to express a new cinematic aesthetic to reflect the realities of westernization and rapid industrialization that occurred during the 1950s. Directors working at large movie studios such as Nigatsu and Daiei who were associated with Shochiku Studio as well as more independent directors such as Hani Susumu and Deshigahara Hiroshi were roundly praised both from within and without of Japan for their experimental techniques and ideas. Their work is why the 1960s are generally considered a positive time for Japanese cinema as they developed on the momentum created by the Golden Age of Japanese cinema during the 1950s. However, it can not be denied that the reliance on certain techniques such as violence and sex which directors in the 1960s used to express a political, anticonservative, anti-lyrical consciousness laid the groundwork for the deplorable state of Japanese cinema during and after the 1970s. Standard bearers of the Japanese New Wave such as Oshima Nagisa and Imamura Shohei, who created movies in a very international style during the height of the New Wave, began to search for a new definition of Japanese cinema.
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