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정아름 ( Areum Jeong ) 서강대학교 언론문화연구소 2018 언론문화연구 Vol.25 No.-
본 논문에서는 일제강점기에 활동한 변사를 중심으로 한국의 무성영화 시대(1897∼1934)의 변사가 어떻게 수입된 영화와 이를 관람하는 한국 관객들 사이에 일종의 문화 매개자로서의 역할을 담당했으며 검열이나 기술적인 제한을 보완하기 위해 어떤 방식으로 내레이션을 적극 활용했는지 살펴보고자 한다. 본 논문은 호미 바바(Homi Bhabha)의 혼종성 이론을 바탕으로 나운규의 무성영화를 해설한 변사 공연을 중심 사례로 하여 문화 번역가로서의 변사의 역할을 고찰한다. 이를 통해 변사의 내레이션이 어떻게 일제의 검열하에서도 한국적인 특성을 나타냈는지 분석하고 국가적 정체성을 부각시킨 일종의 일본 제국주의에 대한 저항으로서 변사의 역할을 설명하고자 한다. The article examines the performance of the pyonsa (“film narrator”) during the Japanese colonial rule. The pyonsa is a narrator that introduces the characters and the setting, and explains the physical actions and psychological dilemmas during silent film screenings. Accompanying imported films, the pyonsa functioned as a cultural intermediary during the Korean audience’s film-viewing experience, and utilized his narration to complement censorship or technological limitations during the silent film period (1897∼1934) in Korea. Drawing from Homi Bhabha’s theories of hybridity and colonial/postcolonial narratives, this research examines the pyonsa’s role as a cultural translator. Through a close study of pyonsa performances of Un’gyu Na’s silent films, this research also analyzes how the pyonsa’s narration constructs Koreanness. While sentiments of nationalism or patriotism may be embedded in the plots of the silent films, the pyonsa’s film narrating performance served as a tactic in effectively transmitting such affect to the audience.
金容浩 서강대학교 언론문화연구소 1988 언론문화연구 Vol.6 No.-
Most researchers who have worked on the Hansong Sunbo, the first modern newspaper in Korea published in 1883, have focused on the intentions and activities of Kaehwapa(開化派) which had striven in the decade to reform the feudalistic system in a radical way. This perspective has been based on the existing historical paradigm which has viewed the late-19C Korea as having been led by the two opposite blocks, one progressive, and the other reactionary. Due to this viewpoint, the publication of the first modern newspaper and its progressive contents have been ascribed only to the radical reformist groups. In the publication of the papers, however, various intentions/activities of several different groups/powers at home and abroad had been entangled. Moreover, the fact that the news organization Pangmunguk(博文局) was an affiliate of the Minssi(閔氏) government and was subject consequently to its direct control, undermines the 'progressive vs reactionary' assumption. We cannot suppose that a 'progressive' newspaper could be published under the control of the 'reactionary.' Therefore Lee Kwang-lin's suggestion that the Minssi government should be looked upon as a modest reformist group should be taken into account in order to pass by the contradictions caused by the binary oppositional perspective. To begin with, this paper is intended to comprise all the possible groups/influential powers related to the publication. This aims at revealing the diversities of the intentions/practices which were the cultural ground in creating the newspaper. The corporation of these divergent intentions by the hegemony of the Minssi government is discussed afterwards. If the cooptation policy exerted by that government is proved to be true in terms of historical facts, the major concern of that newspaper can be described as that of modest reformists, namely 'East Truth and West Technique(東道西器)' orientation to which the Minssi government agreed in the early 1880's. This paper is heavily obliged to Lee Kwang-lin in the interpretation of historical facts, and also to Raymond Williams in viewing the newspaper as a cultural product which is basically to be traced back to the cultural practices/intentions of the groups concerned.