한국 영화비평의 정치적 무의식에 대한 연구 - 1950년대 후반에서 70년대까지

한국영화학회 2008 영화연구 Vol.0 No.37

<P>Achieving the modernity was a long time ardent wish for the Korean cinema. Due to the background of Japanese colonial period and the Korean war, it was difficult for Korean film to establish a systematical condition as Hollywood or attaining aesthetic achievement as European cinema. Since Korean film didn"t have reasonable industrial system nor aesthetic achievement, it was logical to be situated as the other"s position, and for that reason, it was natural to crave for new films with modernity and new system.</P><P> Although it was initiated by the nation, the late 1950s to 1970s was a period of industrialization in Korea, which also functioned as a sort of ideology. Film also couldn"t be independently free from this mood in a sense of social, cultural, political ways that it resulted in a form of film promotion policy. There were new film policies adapted so called, the "Well-made film compensation program", "Screenquota system" etc, and these were all one of the Korean film industrialization policy, which was bench-marked from the Hollywood system. But policies with protection and fostering layed many side effects and became the core reason of downward of Korean film in the late 70s. In summary, the Korean film industry in this period shows the typical contradictions of developing countries when fast shifting to modernization society.</P><P> However, it is difficult to define that these logic of modernization is forced only by the nation. The hope of modernization in film was also an internal desire from the community and it wasn"t only limited to the film industry. Film criticism were unconsciously also seeking for this kind of ideology with an aim of achieving the modernity, and these symptoms were seen in many aspects. Criticism, which in a way anti to modernization ideology were mostly contradicted and disintegrated. One of the expample is the idealism tendency, which was the biggest distinctive feature of Korean film criticism in this period. In a lacking condition of industry, it was necessary to emphasize an earnest auteurism by the director to acknowledge as a good film. The reason why the European art films (especially Neorealism) were more attracted than Hollywood films or such types of films that had more audience tendency, has been originated by these emphasis on auteurism and not by the materialism.</P><P> Anyhow, this idealism was sort of a symptom. Basically, it was emphasizing the art itself but on the other aspect, it was also regarded as a way of break out for Korean films from the backwardness and moving toward the center. In other words, it was a critical decision that overcoming the other"s position and achieving the modernity in Korean films were believed possible by the spiritual aspects rather than the materials. The Korean realism and art film theories in this period could be appreciated in the same context.</P><P> This is also similar to the attitude on the technology. Valuing the contents rather than technic part was another distinctive feature for Korean film criticism, and so the Hollywood technic were less regarded. But the critics praised and valued a great amount of it in a matter of Korean films" technical achievement, and this was quite a contradictory attitude. This kind of dualism, which has also derived from the other" position to the Hollywood films, can also be regarded as showing the hidden desire of modernization.</P><P> In conclusion, the unconscious desire that defined the Korean cinema criticism in this period was the modernization of Korean films. Although in the surface, this kind of desire was shown to be critical to the industrialization"s contradictions, unconsciously it was colluded together. Therefore the desire of the Korean cinema criticism was linked with the social and cultural dimensions.</P>

한국 영화비평의 정치적 무의식에 대한 연구

문재철(Moon Jae Cheol) 한국영화학회 2008 영화연구 Vol.0 No.37

Achieving the modernity was a long time ardent wish for the Korean cinema. Due to the background of Japanese colonial period and the Korean war, it was difficult for Korean film to establish a systematical condition as Hollywood or attaining aesthetic achievement as European cinema. Since Korean film didn't have reasonable industrial system nor aesthetic achievement, it was logical to be situated as the other's position, and for that reason, it was natural to crave for new films with modernity and new system. Although it was initiated by the nation, the late 1950s to 1970s was a period of industrialization in Korea, which also functioned as a sort of ideology. Film also couldn't be independently free from this mood in a sense of social, cultural, political ways that it resulted in a form of film promotion policy. There were new film policies adapted so called, the 'Well-made film compensation program', 'Screenquota system' etc, and these were all one of the Korean film industrialization policy, which was bench-marked from the Hollywood system. But policies with protection and fostering layed many side effects and became the core reason of downward of Korean film in the late 70s. In summary, the Korean film industry in this period shows the typical contradictions of developing countries when fast shifting to modernization society. However, it is difficult to define that these logic of modernization is forced only by the nation. The hope of modernization in film was also an internal desire from the community and it wasn't only limited to the film industry. Film criticism were unconsciously also seeking for this kind of ideology with an aim of achieving the modernity, and these symptoms were seen in many aspects. Criticism, which in a way anti to modernization ideology were mostly contradicted and disintegrated. One of the expample is the idealism tendency, which was the biggest distinctive feature of Korean film criticism in this period. In a lacking condition of industry, it was necessary to emphasize an earnest auteurism by the director to acknowledge as a good film. The reason why the European art films (especially Neorealism) were more attracted than Hollywood films or such types of films that had more audience tendency, has been originated by these emphasis on auteurism and not by the materialism. Anyhow, this idealism was sort of a symptom. Basically, it was emphasizing the art itself but on the other aspect, it was also regarded as a way of break out for Korean films from the backwardness and moving toward the center. In other words, it was a critical decision that overcoming the other's position and achieving the modernity in Korean films were believed possible by the spiritual aspects rather than the materials. The Korean realism and art film theories in this period could be appreciated in the same context. This is also similar to the attitude on the technology. Valuing the contents rather than technic part was another distinctive feature for Korean film criticism, and so the Hollywood technic were less regarded. But the critics praised and valued a great amount of it in a matter of Korean films' technical achievement, and this was quite a contradictory attitude. This kind of dualism, which has also derived from the other' position to the Hollywood films, can also be regarded as showing the hidden desire of modernization. In conclusion, the unconscious desire that defined the Korean cinema criticism in this period was the modernization of Korean films. Although in the surface, this kind of desire was shown to be critical to the industrialization's contradictions, unconsciously it was colluded together. Therefore the desire of the Korean cinema criticism was linked with the social and cultural dimensions.

태양계에 비유한 1990년대 한국영화 지형: 밈(meme) 개념으로

이효인 한양대학교 현대영화연구소 2022 현대영화연구 Vol.18 No.1

In the 2000s, Korean films achieved 50% of the market share, and achieved both the prosperity of genre films and aesthetic results. Korean film research in the 1990s originated from the intention to understand the background of this achievement. At the same time, Korean films in the 1990s contains a variety of interesting aesthetic phenomena in themselves. In the 1990s, Korean films included a mixture of New Wave film, post-New Wave film, and New Korean Cinema film. These terms are still ‘uncompleted’ concepts, but through this classification, we can try to draw the topography of Korean films in the 1990s. The New Wave film consists of three categories: social realism, postmodernism, and film language awareness. I’ve conceptualized The post-new wave film as the result of the new wave memes changed. The New Korean Cinema film was considered to consist of memes such as SF fantasy/blockbuster, new generation comedy and new melodrama, Korean gangster film(Jopok movie), and essay movie. These various memes continued to inherit or evolve, but they continued to transform by exchanging influences with each other in interactions with other memes. In order to explain this process, scientific terms were used figuratively or the laws were used to explain them as three dimensions as possible. This is because this method was considered suitable for explaining the process of moving from disorder to homogenization in the 2000s. 2000년대에 접어들면서 한국영화는 시장 점유율 50%를 달성하였으며, 장르영화의 융성과 작품적 성과를 동시에 이루었다. 1990년대 한국 영화 연구는 이러한 성과의 배경을 이해하고자 하는 의도에서 비롯되었다. 동시에 1990년대 한국영화는 그 자체로 흥미로운 다양한 미학적 현상을 담고 있다. 1990년대 한국영화에는 뉴웨이브 영화, 포스트 뉴웨이브 영화, 뉴 코리안시네마 등이 혼재되어 있었다. 이 용어들은 여전히 ‘완성되지 못한’ 개념이지만, 이러한 분류를 통하여 1990년대 한국영화 지형을 그려보고자 하였다. 뉴웨이브 영화는 사회적 리얼리즘, 포스트모더니즘, 영화언어의 자각이라는 밈을 가진 세 부류로 이루어졌다. 포스트 뉴웨이브 영화는 뉴웨이브 밈들이 변화한 것으로 보았다. 뉴 코리안시네마 영화는 SF판타지/블록버스터, 신세대 코미디와 신 멜로드라마, 조폭영화, 에세이 영화 등의 밈들로 구성된 것으로 보았다. 이러한 다양한 밈들은 고유한 전승이나 진화를 거듭하였지만 다른 밈들과의 상호 작용 속에서 서로 영향을 주고받으며 변모를 거듭했다. 이 과정을 설명하기 위해서 과학 용어들을 비유적으로 사용하거나 그 법칙들을 원용하여 최대한 입체적으로 설명하고자 하였다. 이러한 방식이, 무질서에서 2000년대의 균질화로 나아가는 과정을 요령있게 설명하는데 적합하다고 보았기 때문이다.

The Identity of “Joseon Film”: Between Colonial Cinema and National Cinema

정종화 한국학중앙연구원 한국학중앙연구원 2019 Korea Journal Vol.59 No.4

Inspired by the idea that Korean films during the colonial and post-liberation periods (1919–1948) constantly question the boundaries of Korean national cinema, this article suggests that those films produced during the periods be designated as “Joseon film” (Joseon yeonghwa) and aims to examine the backdrops and potential effects of the nomenclature. In doing so, this paper reexamines the boundaries of Korean film history. At the center of this discourse are ten Joseon films the Korea Film Archive has rediscovered over the past decade, of which this article focuses on three Tuition (1940), Angels on the Streets (1941), and Seagull (1948); all discovered at overseas film archives. These three films constantly evoke and prompt questions on the conceptual definition of Korean film, even though they have been included in the historiography of early Korean cinema and been preserved materially in the Korean Film Archive. Tuition and Angels on the Streets, dating from the Japanese colonial period, and Seagull, dating from the post-liberation period. I examine their production and distribution on the boundaries between Joseon and Korean cinema and between colonial and nation-state cinema. Although the former two films aimed at becoming imperial Japan’s state (Gukka) films, they came to be categorized as Joseon (Minjok, ethnic) cinema by imperial Japan since the colonial realities reflected in the film were problematic to mainland Japan. The nationbuilding propaganda film Seagull, which was produced and distributed in 1948, had to start negotiating with the state to become South Korean film. It could not be legitimated as a South Korean film as it was filmed, since the print was confiscated by the authorities due to the actors who defected to North Korea. Reviewing the designations of and the boundaries between Joseon and Korean cinema, this article takes a critical approach to Korean film historiography of the Japanese colonial and post-liberation periods in Korea.

조선영화 최초 여배우에 대한 논의

김수남(Kim Su Nam) 한국영화학회 2005 영화연구 Vol.0 No.27

It is a problem to decide what is the first film actress in Korea After kino-drama, 〈Euirijeok Guto(의리적 구토)〉(1919)directed by Kim, Dosan was choosed as the first work of Korea in 1966. many discusions about thattill now. In 1990 the first Korean films are written 〈Euirijeok Guto〉 and 〈Swear under moon(월하의 맹세)〉(1923)directed by Yun, Baeknam on the Korean film history. And also new films are introduced as the first Korean film such as 〈Frontier(국경)〉(1923) directed by Won, Sanman and 〈Life's Foe(인생의 구〉(I920)directed by Kim, Sorang. The discussion of first Korean film is divided by four parts mainly. The first is the problem on the identy of 〈Euirijeok Guto〉 as film. The second is that we admit 〈Swear under moon〉 as the first Koream film or not. The third discussion is that film company of 〈Frontier〉is Korean company or Japanese company. And last question is that is 〈Life's Foe〉 kino-drama or pure film. The other opinion of the first Korean film is Korean classic drama 〈Janghwahongreoynjeon(장화홍련전)〉(I924) directed by Park, Jeonyang. Because of These works made by Park, Seungpill's national fund and all Korean fim staffs. 〈Life's Foe〉 was misunderstood as kino-drama but now this work is confirmed as pure film. So my conclusion is that the first Korean film is 〈Life's Foe〉 made in 1920. Untill now I have discussed on the first Korean film. From now I study on that who is the first Korean actress. This issue is the puporse of my thesis. After I have researched this issue, I determinded that the first Korean actress is Ma, Hojeong who is main cast of 〈Life's Foe〉 knowned as the propaganda film of sanitary and Lee, Weolhwa who is main cast of 〈Swear under moon〉. By the other point of the first Korean film I nominate Kim, Okheuy and Kim, Seolja who wre the main cast of 〈Janghwahongreoynjeon〉. But 〈Life's Foe〉 is the first Korean film which is admitted not yet in Korean film world. And 〈Janghwahongreoynjeon〉 has many points discussed as the first Korean film. After all Lee, Weolhwa who is actress in 〈Swear under moon〉 is Written in Korean film history as the first Korean film actress and in 1923 the first film actress appearanceed in Korea.

2000년대 한국영화의 국제 교류에 관한 연구 -국내와 해외의 국제영화제와 영화의 한류에 관하여-

이지현 ( Ji Hyun Lee ) 한양대학교 현대영화연구소 2014 현대영화연구 Vol.10 No.3

This study looks into the international exchange of South Korean films in the 2000s. First, it will look into the trend of holding the domestic international film festivals and sum up Korean directors who have been awarded in the overseas international film festivals. Also, it will look into whether there is the Korean wave (Hallyu) in films abroad and what roles it plays if there is. Even if the invigoration of the domestic international film festivals in the 2000s did not draw a single result, it is clear that it has led the overall invigoration of the domestic film industry. It provided the audience with chances to watch various quality films and places of interchange of film makers. Also, it has helped develop the art of the cinema and local cultural industry and promote cultural diversity. Thanks to these merits, provincial governments have made efforts to host a film festival since 1995. For a decade after that, international film festivals became saturated, and film festivals started to look back on themselves in the late 2000s. Film festivals except the Busan International Film Festival are at a standstill, but the fundamental merits of an international film festival still persist, since it helps revitalize the local economy for the venue and becomes ‘a model of the reinforcement of local culture’ beyond a simple tourist product. Korean films began to achieve good results in overseas international film festivals in the 2000s. Hong Sang-soo, Kim Ki-duk, Lee Chang-dong, Park Chan- wook and Bong Joon-ho were praised for bringing about ‘nouvelle vague of Korean films’ in foreign countries. They received recognition through major overseas international film festivals. Individual directors revealed South Korea’s singularities through an issue of space or substituted issues of time or synchronic problems in society for that. In addition, it should be noted that their activities, which are called ‘post-Korean nouvelle vague’ in the domestic academia, are mentioned removing ‘post-’in other countries. The roles of Korean films as ‘a Hallyu content’ of various cultural contents are important as well. The Korean film craze in Asia brought about by Shiri completed in 1999 has remained after 2000. My Sassy Girl (Yeopgijeogin Geunyeo) is the representative product of Hallyu contents. However, it is regretful that this new cultural market cannot continuously show its power. Also, the zeal for the cinematic Hallyu is, in fact, slight in the U.S. or Europe. Therefore, in the future, Korean films should distinguish themselves with ‘diversity’ instead of specialized cultural products as a weapon in the world market.

북한영화의 탄생과 주인규

한상언(Han Sang Eon) 한국영화학회 2008 영화연구 Vol.0 No.37

This thesis is a study about Joo in-gyu who is known as the founder of North Korean film. After the liberation, the Soviet Army occupied the North of Korean peninsula till the 38th parallel and it changed it fast into a socialist state under the control of the Soviet Union. After this fast change from a colony into a socialist state, the most important thing to be considered is how Koreans who were used to be a Japanese colony, were reborn in a socialist country. Such kind of country reconstruction needed an impressive propaganda, and the best way to instigate people was to make movies. Thanks to the intensive support of the Soviet Union and the North Korean regime, the North Korean film grew up rapidly. In 1946, the North Korea's first film came out, it was a documentary Our construction. By the end of the year, the film making, distribution, and screening were all under the government control. In 1947, the North Korea's first talkie film was made. In the following years in Asia, the North Korean national film studio started to be built. In 1949, the first dramatic film My hometown was made, in 1950 the first color film May first in 1950 was made. Before the 1950-1953 Korean War, the North Korean film started to be active. Joo in-gyu played a prominent part in the North Korean film's success. He has been an actor as well. Immediately after the liberation, he was in charge of the construction of the North Korean film as the head of South Hamgyong prosecution. Also, during the Korean War, as North Korea film's chief, Joo was in charge of the North Korean literary art union's central committee, the chairman of the North Korean film union, the president of the North Korean national film studio, the chairman of the North Korean theater committee. He put under government control all rights about film making, distribution, and screening until he kept his position. However during the Korean War, He has been purged. We couldn't find about him any documentary records after the war. More, in the process of setting up the North Korean film's system, Na woon-gyu, who worked in the opposite side of Joo in-gyu during Japanese colonial period, has been generally appraised So Joo in-gyu's activities in Japanese colonial period did not receive any attentions.

한국 사극영화 장르 관습의 형성에 관한 일고찰: '신필름'의 <연산군>의 연작을 중심으로

박유희 문학과영상학회 2008 문학과영상 Vol.9 No.2

This paper aims to examine the genre convention of Korean historical films with reference to the Yeonsan-gun series produced by "Shin Film." The Korean historical film genre was formed in early 1960s along with other Korean film genres. Shin Sang-ok was held as one of the most important directors and producers of Korean historical films. Shin inaugurated the golden days of Korean historical films in the 1950s and the 1960s, and his production company "Shin Film" played the key role in the formation of the Korean historical film genre. The first film produced was the Yeonsan-gun series. The Yeonsan-gun series helped establish a standardized formula for Joseon-era period pieces, especially in terms of narrative and spectacle. These dramas became the foundation of the style of mise-en-scene that became standard in the Korean historical genre films of the 1960s and 1970s. The narrative formulae established in the Yeonsan-gun series were repeated throughout the sixties and lasted well into the historical TV dramas of the 1970s. The Yeonsan-gun narratives dealt primarily with the tensions between patriarchal order and maternal pathos. Desires, passions, impulses and revolts that could not find open expression in films set in the contemporary period found articulation in historical films. One of the most common themes in these films is maternal grudges stemming from the unfairness of the patriarchal system, such as that of the deposed queen in the film “Mrs. Yun” only to be repaired and sutured later by means of the same patriarchal system that caused them. These examples of maternal "han" explode with drama and pathos which function as a convergence point for diverse desires that simmer repressed under patriarchy. Ironically, in most cases, this same pathos is in the end resolved and healed by the patriarchal order. This paper aims to examine the genre convention of Korean historical films with reference to the Yeonsan-gun series produced by "Shin Film." The Korean historical film genre was formed in early 1960s along with other Korean film genres. Shin Sang-ok was held as one of the most important directors and producers of Korean historical films. Shin inaugurated the golden days of Korean historical films in the 1950s and the 1960s, and his production company "Shin Film" played the key role in the formation of the Korean historical film genre. The first film produced was the Yeonsan-gun series. The Yeonsan-gun series helped establish a standardized formula for Joseon-era period pieces, especially in terms of narrative and spectacle. These dramas became the foundation of the style of mise-en-scene that became standard in the Korean historical genre films of the 1960s and 1970s. The narrative formulae established in the Yeonsan-gun series were repeated throughout the sixties and lasted well into the historical TV dramas of the 1970s. The Yeonsan-gun narratives dealt primarily with the tensions between patriarchal order and maternal pathos. Desires, passions, impulses and revolts that could not find open expression in films set in the contemporary period found articulation in historical films. One of the most common themes in these films is maternal grudges stemming from the unfairness of the patriarchal system, such as that of the deposed queen in the film “Mrs. Yun” only to be repaired and sutured later by means of the same patriarchal system that caused them. These examples of maternal "han" explode with drama and pathos which function as a convergence point for diverse desires that simmer repressed under patriarchy. Ironically, in most cases, this same pathos is in the end resolved and healed by the patriarchal order.

수요공급관점으로 본 한국영화 위기의 진단과 전망에 관한 연구

고정민(Ko Jeong-min) 인문콘텐츠학회 2008 인문콘텐츠 Vol.0 No.12

본 연구는 수요와 공급관점에서 한국영화 위기 원인의 분석 및 미래 전망을 한 것이다. 한국영화의 위기에 대한 원인파악을 위해 손익분기점상의 개봉편수와 실제 개봉편수와의 수급불균형 현상을 살펴보았고, 향후 10년 동안 한국 영화시장의 전망을 통해 장기적인 수급측면에서 위기 지속여부를 분석하였다. 한국영화의 위기 원인으로는 영화제작에서의 창의성 결여, 온라인 불법유통, 개봉편수 증가에 따른 수익성 악화 등으로 인한 공급과잉이라 할 수 있다. 한국영화점유율 60%, 한국영화점유율, 제작비, 시장규모 불변이라는 가정하에서 향후 손익분 기점상의 개봉편수는 72편으로서, 2007년 제작편수를 크게 상회하고 있다. 시계열 분석을 통해 한국영화시장을 전망해 본 결과 일인당 연간극장관람횟수 4.6회 수준을 가정하여 향후 10년간 한국영화시장 성장률은 과거 10년간의 13.2%에 크게 못 미치는 3.6%에 머물러 저성장이 불가피할 것으로 예상되었다. 이러한 결과를 토대로 한국영화산업의 위기 극복을 위한 시사점으로서 한국영화업계의 성장둔화에의 적응과 IPTV 등 신규비즈니스 창출 등의 과제를 도출하였다. This study is concerned with analysis and diagnosis of Korean film industry crisis in terms of demand and supply balance. Analysis of the reason of crisis is made in terms of demand and supply balance, and forecasting of Korean film industry up to 2017 is made to compare the annual growth rate in past 10 years with that in the future. As a result of analysis, this study shows that reasons of crisis are the shortage of creativity of Korean film and sillegal online distribution of Korean film, the increase of number of first run film. Also this study tells us that the number of first run film in break even point is 72. Recent gross loss of Korean movie is due to more production number than break even point production number. Annual growth rate of Korean film for 10 years in the future is 3.6% compared with 13.2% for 10 years in the past. From this result we can induce that future direction of Korean film industry is to overcome of crisis such as adjustment to the slow growth rate of Korean film and creation of new business.

김종원의 영화평론 세계론: 시와 회화의 장 그리고 영화사적 탐구의 영화 비평담론

김수남 영상예술학회 2007 영상예술연구 Vol.11 No.-

한국영화비평계의 비평적 탐색들이 한 시대 현실의 진지한 투영보다 관객의 취향에 부합하여 현란하고 무의미한 유채색 글들로 채색되고 있음을 주시해야 할 것이다. 이러한 혼미한 한국영화비평계에서 세계영화계의 동향에 귀를 기울이면서 우리의 저울대로 한국영화를 평가해 온 아나로그세대의 영화평론가들의 존재는 그나마 위안이 된다. 영화평론가이며 영화사학자인 김종원은 한국영화평론사에서 기억되어야 할 1순위 인물로 한국영화평단의 거산(巨山)으로 칭할만하다. 1950년대 후반 이후 한국영화평론계의 중심에서 활동해 왔던 김종원은 한국영화비평의 지평을 여는 큰 재목이었고 영화평론을 통해 ‘좋은영화 보기운동’ 등 건전한 영화문화운동에 앞장 서 왔다. 대쪽같은 양심의 소리로 무장된 그의 글들은 우리영화가 제기하는 한국영화미학 그리고 한국영화의 발전을 저해하는 제도적인 제 문제에 대해 신랄한 비판과 대안을 제시하였다. 특히 초창기 주요한 한국영화사 정리와 영화사적 관점에서 한국영화의 기틀을 재정립하고자 하는 그의 공로는 크게 평가되어야 할 것이다. 김종원은 1937년 제주도 제주시에서 태어났다. 서예가인 김규형과 안창후 사이에서 6남 4녀 중 장남으로 태어났다. 제주제일중학교 3학년 봄에 “비탈길”이라는 시로 제주신문에 게재되면서 어린 시절 한 때 관심을 끌었던 영화인보다 시인의 꿈을 키우기 시작한다. 오현고등학교를 졸업한 김종원은 서라벌예술대학 문예창작과(초급대)에 입학하여 당대 기라성같은 문인들인 김동리, 서정주, 박목월 등의 강의를 들으며 21세 때 <문학예술> 5월호에 시 두편이 추천되어 정식으로 문단에서 활동을 시작한다. 촬영하러 제주도에 내려온 안종화 감독과 만나 영화계와 가까이할 기회를 갖게 된 그는 <자유공론> 11월호에 영화평론 “한국영화평론의 위기와 과제”를 발표하여 영화비평활동을 시작하였다. 1969년부터 <주간조선>문화담당 기자로 활동한 그는 1975년 유신말기 <자유언론수호를 위한 조선일보 언론자유투쟁위원회>에 참여하다가 파면당한 불운한 시대의 양심있는 지성인이었다. 시대의 아픔을 가슴에 새기며 <한국영화평론가협회>회장, <국제영화비평가연맹>한국본부 회장으로 선임되었던 그는 영화평론가로서 <공연윤리위원회> 영화심의위원, <문화공보부>의 자문위원, 한국연극영화TV예술상, 대종상, 청룡상 등의 영화심사위원으로 참여하여 건전한 한국영화를 지키는 한 몫을 당차게 수행하였다. 김종원의 영화비평정신은 바로 주체적인 한국영화문화에 대한 외침이며 한국영화의 뿌리를 잊지않고 영화사적 관점으로 한국영화의 정체성을 세계에 내세울 것을 추구해 온 한국영화비평계의 진정한 논객이었다. 영화비평의 역할이 무엇인가를 반평생 동안 솔선수범하여 온 그의 평문은 영화작품을 보다 잘 이해하고 반응하는 방법으로서 올바른 정보와 통찰력 있는 관찰에 근거하여 탁월한 언어의 구사력으로 타자와의 차별화를 보인다. 김종원은 영화가 볼만한 가치가 있는가? 하는 문제에 답하는 일종의 소비자 옹호역할을 하는 대중언론 비평의식을 기본으로 한국영화의 총체적이며 역사적 통찰력이 요구되는 비평을 추구하였다. 또한 비평의 기능을 확대하는 비평 형식의 다양하고 질적인 면을 모색한 그의 영화평론은 질 높은 영화문화의 창달을 위한 건전한 문명적 사회성을 강조하였다. 또한 김종원의 주체성있는 영화작가의 부활과 한국영화문화 지킴이로서 비평역할은 영화작품평으로서만 가늠할 수 없다. 긴 논문성격의 시사평문 속에 서술된 그의 글들은 변함없이 건전한 한국영화문화와 영화미학의 정체성을 확립하기 위해 국내외 영화계 현실을 검증하면서 오늘에 이르고 있다. 김종원이 반평생동안 추구해 온 리얼리즘의 화두는 시대정신이요 그 소임을 다하는 영화작가정신의 부활이었다. 한국영화사적 관점에서 한국영화를 바라보고 꾸준히 문제점을 제시하면서 해결적인 대안을 주장한 김종원은 영화사를 통한 교훈의 실천과 미래 한국영화의 모습을 예언하고 있었다. A film critic, Jongwon Kim is a poet and filmhistorian and the last analoggeneration’ s film critic. Also he is the first Korean film critic memorized byKorean film audience and a Great Mountain in the world of Korean film critic. He has actived in the center of Korean film critic world after 1959. His strong declaration of conscience to Korean film world has contributed the development of Korean art film. His film critical essays insisted that Korean film maker and audience keep the healthy Korean film culture. Especially his unique viewpoint of Korean film history has tried to establish the origin form of Korean film. He was born in Jaeju iland. He is interesting in poem in middle school andhigh school. After graduated high school he entered in the depapartment of literature class at Serabal Art College and he was debut as a poet but he has began to active as a film critic after he met a director An, Jonghwa. As a film critic Kim, Jongwon actived a jou rnalist in weekly Chosunilbo but he was dismissed because of meeting a member of group fighting law enacted to control press activities. After this accident he has been active various part such as a president in‘ association of Korean film critic’ and‘ Federation ofInternational film critic’ and also a member in various kind of commiteecontact with film policy or film festival. Jongwon KIm’ s spirit of film critic has pursuited for establishing the identyof Korean film and wealty Korean film culture. He shows different style of film critic by taking various kind of knowledge compare to the other film critic. He has insisted on the ideology of social civilization culture for acompolishing the high quality film culture. He also expect that a special film director with subjectivity will appear. Jongwon Kim who has watched Korean film for long time finally he pursues the spirit of times by viewpoint of Korean film history and restoring film director's spirit.