1960~70년대 일본영화의 새로운 특징에 관한 연구

전평국(Jeon, Pyeong-Kuk) 한국영화학회 2012 영화연구 Vol.0 No.53

This study considered a research on new trend of Japanese films in the 1960s∼1970s focusing on 4 directors. Like the West, even Japan was in the era of a whirlpool politically and socially enough to have it as "one turning point of paradigm" with entering the 1960s. Four directors violently shake the whole of terrain in Japanese film with "new wave," calling even a film as old generation, with new challenge and innovation standing against the period before it. These directors proceed with making their films with new form, style and theme while fighting with the existing order, politics, and ideology with revolting against the tradition of Japanese film. Oshima Nagisa, who led the new-wave movement, proceeded with pursuing development in a film with new theme, new assertion, and new method while fighting with traditional film most combatively and innovatively. Imamura Shohei pioneered aesthetics called Imamura realism with inquiring into a problem about "what is Japanese style"(Japanese identity), by firmly maintaining attitude dubbed "spirit of denegation," through challenging Mizoguchi"s tradition & emotion, and aestheticism & universal humanism value. Suzuki Seijun took the lead in vitality of Japan"s popular culture with cultish popularity by making a film of standing for decadence and aestheticism with experimental form and destructive informality in the limit of genre, with odd and unique video and style. And Yamada Yoji proceeded with opening new chapter of Japanese film with humor and wit on a petit bourgeois"s fragmentary thought about life even while proceeding with continuing the consistent material, character, and story writing technique by displaying "artisan spirit" within the film-making system peculiar to Japan. These films, which are expressed with "vitalism," are greatly differentiated from their original works in young & energic hero, in strongly social-criticism element through sex and violence, in negation of humanism and sentimentalism, in a mixed form of using documentary style, in looseness & open composition in the structure of story, and in radical experiment of a form and contents. The Japanese films following the 1960s∼1970s amid this trend come to develop into the so-called "diversification" and "internalization" era by creating films in diverse genres and forms such as commercial & art films, experiment, documentary, and animation with many challenges and responses in the middle of the affiliation and cooperation system of major company and independent production.

필름 느와르(film noir)의 역사적 특수성에 관한 연구

전평국 ( Pyeong Kuk Jeon ) 한양대학교 현대영화연구소 2014 현대영화연구 Vol.10 No.3

본 논문은 1940년대 미국에서 발생한 필름 느와르의 여러 가지 시대적, 사회적 배경과 또 탄생의 직, 간접적으로 영향을 준 역사적 사건들이 무엇인지 탐구함을 목적으로 한다. 1920년대 시행된 금주법의 부작용은 불법과 범죄로 불합리와 부조리한 현실이 존재한다는 것을 인식하게 하였고 1930년 전후에 발생한 대공황의 경제적 침체와 혼란은 전통적인 미국적 가치와 정체성을 심각하게 위협하였으며, 2차 세계대전과 이에 따른 성과 폭력에 대한 영화검열완화 그리고 하드보일드 소설의 서사구조와 캐릭터, 주제와 스타일 등의 영향과 역사적 흐름이 하나의 통일된 기제로 작용해 필름 느와르를 배태시켰다. 필름 느와르는 2차 세계대전이라는 큰 역사의 전후에서 점차 암울해져가는 세계관과 문화적 태도를 스크린위에 반영했다. 대중들은 필름 느와르를 통해 현실의 모순과 불합리, 부도덕성을 인식하고 그 속에서 현실도피와 대리만족의 카타르시스를 경험했다. 결과적으로 필름 느와르는 자체가 지니고 있는 특성과 그 배경이 되는 역사적, 사회적 특수성이 누적 연계되어 미국식 표현주의라고 하는 새로운 리얼리즘의 영화미학인 하나의 스타일을 창조함으로써 영화의 숨겨진 역할을 수행했다. 영화는 삶과 역사의 투영이고 필름 느와르또한 그 원칙에서 벗어날 수 없기 때문이다. The purpose of this study is to explore various historical and social background of film noir occurred in the United States in 1940s and to explore what historical events had directly and indirectly influenced its birth. The side effects of Volstead Act has made aware of the existence of unreasonable and absurd reality due to illegality and criminality, and the economic downturn and chaos of the Great Depression occurred before and after the 1930 have serious threatened the traditional American values and identity, and the mitigation of film censorship on sex and violence following the Second World War with the effect of narrative structure and character of hard-boiled fiction, impact of themes and styles, and a single unified mechanism of historical flow gave birth to the film noir. The film noir has reflected the ever increasing murky worldview and cultural attitudes on the screen before and after the great history called the Second World War. The public has recognized the immorality and contradiction and absurdity of reality through film noir and within it experienced the catharsis of escapism and vicarious satisfaction. In conclusion, with the accumulation and association of characteristics of film noir and the historic and social distinctiveness which becomes its background, it has played a hidden role of film by creating a style of film aesthetics of new realism called the American expressionist. It is because the film is the projection of life and history and the film noir also cannot escape from its principles.

디지털영화 ; 영화와 애니메이션의 사이공간에 관한 연구

전평국(Jeon, Pyeong-Kuk),김형두(Kim, Hyoung-Doo) 한국영화학회 2012 영화연구 Vol.0 No.54

The film industry had rapidly adopted new technology-‘Digital’ in 2000s and it brought significant changes in film making and cinema aesthetics. This encounter between film and digital represents radical changes in a decade to cinema aesthetics including expression method and conventional film making method which lasted over 100 years. The film in digital era is able to utilize various reproduction method rather than in analogue era. New technology such as 3D film makes ‘Hyper reality’ which creates optical illusion between reality and simulation. It enables film audiences to experience variety of scenes and fantastic visual image that is more real than reality. The film in digital era is able to utilize various reproduction method rather than in analogue era. New technology such as 3D film makes ‘Hyper reality’ which creates optical illusion between reality and simulation. It enables film audiences to experience variety of scenes and fantastic visual image that is more real than reality. Such space is completed by structure of mise en abyme which makes meaningless to distinguish copies and originals. Hyper reality-more real than reality- enables film audiences to be immersed in movies enthusiastically despite the convergence of two different media.

한국영화에 대한 국제적 평가와 예술영화에 대한 재 고찰

전평국(Jeon Pyeong-Kuk) 한국영화학회 2001 영화연구 Vol.- No.17

The Korean film industry is currently enjoying a second renaissance and is gaining attention worldwide. Korean movies have been breaking records every year in the domestic market, competing with Hollywood movies and have shown noticeable growth in overseas exports. However, despite the success, Korean movies have some problems including Korean film identification, internationalization as well as a lack of diversity. One of the alternative plans to overcome these problems is to win and achieve high acclaim at prominent international film festivals such as the Cannes and Venice film festivals. This would allow the status of Korean films to be elevated to 'Art' and their market power to be strengthened through the reception of prizes and awards at the film festivals. International film festivals currently function as a passage and a bridge in presenting each country's new movies to the world. Such exemplary cases are the fifth generation of Chinese cinema and Iranian cinema. These kind of international film festivals are a niche within the international film markets dominated by Hollywood, a space for countries seeking to differentiate from and to compete with Hollywood films by producing a specific national art film. For the successful fruition at international film festivals, Korean films have to turn to high art and emphasize the cultural traditions specific to Korea. Consequently, these efforts would solve the preceding problems and give rise to the creation of high art cinema. For accomplishing this, Korean films have to maintain a balance between a national aspect on the one hand and an international aspect on the other : at the level of the art film discourse and criticism, at the level of the art film market, at the level of art film legislation. More specifically, the following steps should be taken ; the systernatic analysis of art cinema texts, its source of finance, its mode and circuits of production, distribution, and exhibition, the institutional basis of art cinema discourses, narrowing the gap of film evaluation between in Korea and at the international film festivals, catching the common criteria of film critiques at international film festivals.