심훈 소설 『상록수』의 영화적 장면(scene) 구성 전략

임정식 ( Im Jeong-sig ) 심훈학회 2024 심훈학보 Vol.3 No.0

The background for examining the cinematic scene composition strategy of the novel “Evergreen” is related to the fact that Sim Hoon had a sense of self as a “filmmaker” and that he actually engaged in all-out activities related to cinematography. While writing “Evergreen”, Sim Hoon hung the megaphone he used at the time of directing the film “When the Dawn Comes” on the wall, adapted the novel into a screenplay as soon as the novel was finished, and ran around trying to make it into a film. In other words, Sim Hoon had filmmaking in mind while writing “Evergreen” and in fact, the novel “Evergreen” contains many cinematic expression forms. The cinematic scene composition strategy inherent in “Evergreen” is first revealed in terms of space. Film is a medium in which the actions of characters and events occur around space, but Sim Hoon frames a specific space in “Evergreen” and describes it as a scene from a film. The scenes of the 60th birthday party at Hanangcheong house and the Dure at Nongwoo Hall are notable examples of ‘spatial scene composition.’ “Evergreen” implements a three-dimensional mise-en-scene using complex senses such as music, dance, and close-up in a fixed space. Also, in Chapter 1, the process in which Park Dong-hyeok and Chae Young-shin walk from the Social Hall to the subway station to the Gamyeong intersection to the dormitory utilizes cinematic narrative techniques such as spatial movement and linear narrative development. “Evergreen” also utilizes cinematographic techniques. The scene where Park Dong-hyeok and Chae Young-shin go on a date at Hangokri Beach expresses cinematographic and editing techniques such as tilt shooting, point-of-view shots, and flashbacks in sentences. Also, the beauty of nature, such as the moonlight just before the full moon and the white sand, is expressed with descriptions that maximize visual imagery. “Evergreen” is a novel centered on enlightenment and romance. In general, Sim Hoon utilizes cinematic scene composition strategies such as spatial sceneization, spatial movement, and linear development in the parts related to enlightenment. And in the love scenes, he uses various cinematographic techniques and visual images to explain the inner self and situations of the characters. As such, “Evergreen” is a work that contains various forms of cinematic expression that Shim Hoon, a “filmmaker,” attempted with cinematography in mind. These characteristics of “Evergreen” are based on Sim Hoon’s actual film experience.

심훈의 시조에 대한 인식과 작품 세계 - 시조 형식과 작품 세계의 변화를 중심으로

김광조 ( Kim Gwang-jo ) 심훈학회 2024 심훈학보 Vol.3 No.0

The purpose of this article is to examine changes in the perception of Shim Hoon’s sijo form and what trends his world of sijo shows. In the poems published during the study period and in the June issue of Samcheonli in 1931, Shim Hoon used the form of sijo during the Enlightenment period without considering about the form of the sijo. It shows a monotonous rhythm that consistently maintains the equivalence of the tetrameter meter throughout the first, middle, and final poetry line. Then, in 1932, the beginning of the change was shown through the sijo works cited as examples in “Direct Comments on Puro Literature 1, 2, 3”, and in the handwritten manuscript Simhun Poetry Collection, it was changed from the simple four-note rhythm shown in the previous format, it appears that the general sijo ending rule of ‘Soeumbo―Gwaeumbo―Pyeongeumbo―Soeumbo’ has been established. In addition, Shim Hoon’s sijo’s tendency to express his feelings or convey his experiences through forming relationships with poetic objects is clearly revealed in the works included in his studies and “Hangzhou Yugi”. Then, in the work that sings about the reality of rural areas created after returning to Dangjin, the reality of rural areas and the lives of the people living there are depicted as if drawing a landscape picture. In other words, captures the joys and sorrows of simple life in a single scene and depicts them realistically. This can be seen as the creative intention to sing and record real life through sijo, the ‘new soul’ of sijo that Sim Hoon advocated in “Direct Comments on Puro Literature 1, 2, 3”.

심훈 소설에 나타나는 음악적 기법 연구

권철호 ( Kwon¸ Cheol-ho ) 심훈학회 2023 심훈학보 Vol.1 No.0

The purpose of this article is to study the musical techniques in Shimhoon’s novels. Shimhoon has been evaluated as a comprehensive artist who worked in poetry, novels, and movies, but his important artistic origin, ‘music’, has not received much attention. Shimhoon had a continuous interest in ‘music’ even before he started his full-fledged artistic activities, and this is also shown in his debut short story, The Consolation of Suffered Spirit In The Hymn. In this work, Shimhoon uses a technique called ‘contrapacta’, a kind of adoptation song, to present his 3.1 Movement experience. The writer uses the melody that uses the contrapacta technique to remind the reader of another lyrics that do not appear on the surface of the novel and uses this technique to avoid censorship at the time. The contrapacta technique also appears in the movie novel T'alch'um and the scenario When the sun rises. In addition, Shimhoon uses a specific melody as a ‘leitmotif’ in his novels and reminds the reader of a specific emotion through it. Shimhoon’s well-used musical technique is his representative work Evergreen. Park Dong-hyuk and Chae Young-shin in Evergreen use the songs ‘Love song for hometown’ and ‘Go to Work’ as leitmotifs and convey their theme consciousness through them.

영화 <상록수>에 나타난 길의 형상과 그 의미에 관한 연구 - 신념과 선택으로서 길의 의미를 중심으로

김남석 ( Kim Nam-seok ) 심훈학회 2024 심훈학보 Vol.3 No.0

The film < Evergreen Tree (Sangnoksu) > is a literary film (Cine Novel) adapted from the novel of the same name by Shim Hoon and produced according to the scenario. In 1961, Shin-Film produced < Evergreen Tree (Sangnoksu) >, directed by Shin Sang-ok and starring Choi Eun-hee and Shin Young-kyun. This film focused on transferring the original work’s rural enlightenment ideology to the screen, and in the process, focused on preaching the importance of social work and education. Since its release in 1961, it has been evaluated as a faithful visualization of the original work, and these characteristics have been noted in subsequent studies. This study acknowledges the results of previous studies, but focuses on the process of visualizing the ‘road’ reborn on the screen by director Shin Sang-ok. In the original novel, the spiritual path of belief and choice was expressed as a physical, visual, and aesthetic path in a literary film(Cine Novel) < Evergreen Tree(Sangnoksu) >. This process of visualizing the path served the function of showing on the screen the life goals and spiritual beliefs chosen by Yeongsin and Donghyeok, as well as the ideological path as a result of that choice.

심훈 시의 이원성

장석원 ( Jang¸ Seok-won ) 심훈학회 2023 심훈학보 Vol.1 No.0

There are facts revealed in many literary historical evaluations and studies. Novels and movies were the subject of more interest and evaluation than poetry among Shimhoon's works. It is possible to speculate that poetry was a secondary and secondary object of creation for Shimhoon. There are many works that deviate from the perspective of Shimhoon's poetry evaluation that we knew. There are still many unknown works that reveal the other side of Shimhoon that we did not know, and the inner scenery of Shimhoon that was not revealed. This cannot be concealed. This should not be concealed. In order to know the full nature of a poet, we focus on new aspects that were not seen in existing evaluations. Shimhoon's poem has two characteristics that reveal the characteristics of the patriot and the characteristics of the the young. This paper identifies these characteristics as 'patriot-outer face' and 'the young-inner face'. It is the structure of the thesis's subject word 'dualism'. The loneliness that resonates inside Shimhoon, who intends to devote his whole body to patriotism, expresses Shimhoon's ego. He was also an ordinary young man. The stronger the hope, the stronger the despair. The more fervent the cry, the colder it sinks. Two ambivalent emotions dualize Shimhoon's poem. For Shimhoon, poetry was an object that revealed the waves of emotion he felt. His poems are composed of 'fierce and frenzy'. Behind the scenes, there is a clear hope and sigh.

영화감독 심훈의 영화예술에 대한 인식 고찰

박정희 ( Park¸ Jung-hee ) 심훈학회 2023 심훈학보 Vol.1 No.0

There are various subjects that make up the artist Shimhoon. He has performed artistic activities in various fields such as poet, novelist, (literary) reporter, broadcaster, and film director. In this article, I looked at Shimhoon’s aspects as a filmmaker (film director). Shimhoon confessed that he lived with a dream of film production as a film director, and he was a filmmaker who did not give up his desire to make films even while creating poetry and novels. As film director Shimhoon deepened his understanding of comprehensive art and film art, which is a collection of modern capital and technology, despair he experienced in the reality of film production in colonial Joseon inevitably deepened. The perception of the limitations of national capital and its despair eventually became a driving force for Shimhoon to further strengthen his resistance to the reality of colonial Joseon. This is why it is detected in Shimhoon’s poems and novels. On the other hand, Shimhoon’s understanding of film art and the nature of film aesthetics he wanted to produce are based on the contents of German early expressionist films and French impressionist film aesthetics. However, Shimhoon’s learning and understanding of the aesthetics of expression in film art came from the perspective of a film director, not a writer or film critic. In this paper, Shimhoon’s article, which expressed the value of the German film The Last Laugh(1924), was analyzed to confirm the perception of the expression aesthetics of film art and to examine the nature and meaning of his scenario Daegyeongseong Rhapsody(1928). Daegyeongseong Rhapsody corresponds to the result of cinematic imagination that transcends the level of film production technology of the time. This is because it was written in the imagination of a future complete with a ‘technical level’ that can maximize the autonomy of film art. However, the imagination and language are different from the ‘literary imagination’ in that they are established under complete conditions of ‘technology’ for filmization. As a result, it can be confirmed that Shimhoon’s perception of film art and his film language were built on the basis of his perception of capital-(science) technology that supports the aesthetics of expression in movies.

한국 현대 소설의 정치적 담론 수용 양상 연구 - 최인훈의 「總督의 소리」를 중심으로

김종수 ( Kim Jong-soo ) 심훈학회 2024 심훈학보 Vol.4 No.0

This study purposes how political discourses in real situation were accepted to fiction in Modern Korean novels from the late of 1960s to the 1970s. A presidential address was an important way for political communication to people in Park Junghee's dictatorship era. At that time the presidential address not only functioned as a publicity method of national policies but also more powerfully influenced people's political consciousness in South Korea. Governor’s Voice, a series of stories written by Choi Inhun, released in Park's era and composed of a presidential address style, provides with meaningful contents with historical and analytic depth against political discourses issued by the dictator. Especially the stories reveal that the address was one-sided and anti-democratic communication way as these make mockery of the address style and caricature narrator's voice. By means of making the good use of dictator's high-handed communication way, Governor's Voice achieved the political effect that reveals social situation depressed by Park Junghee's dictatorship from the late of 1960s to the 1970s.

이효석 소설에 나타나는 ‘능금’, ‘고향’, ‘모성’의 상관관계 연구

이승준 ( Lee Seung-jun ) 심훈학회 2024 심훈학보 Vol.4 No.0

In this paper, the meaning of the correlation between ‘hometown’, ‘motherhood’ and ‘nunggeum’ in Lee Hyo-seok’s novel was revealed. In Lee Hyo-seok’s novel, ‘Nunggeum’ appears repeatedly and constructs a multi-layered meaning. The ‘present/absence’ of Neunggeum means ‘the paradise/lost’ and ‘mother’s arms/lost’. In addition, ‘Nunggeum’ implies a temporary liberation from the reality of the colonial country, a struggle for independence, a journey to find freedom, and a longing for socialism for human liberation. And ‘Nunggeum’ is a longing for ideology, sex, and nature, and it is an symbol of ideal world. Lee Hyo-seok’s birthplace is uncertain. However, it is certain that his birthplace is between Jinbu and Bongpyeong. Despite the geographical uncertainty, Lee's psychological and emotional hometown is Pyeongchang’s, which includes Jinbu and Bongpyeong. It is also questionable who Lee's birth mother is. Kang Hong-kyung is most likely not his birth mother, and it is likely that the person referred to as ‘Chungju-daek’ is his birth mother. Thus, Lee considers Gyeongseong to be his hometown and his mother-in-law as his mother. Lee Hyo-seok’s denial of his hometown is too strong. It is heading towards denial of parents. However, considering Gyeongseong and his mother-in-law, his denial of his hometown is thought to eventually lead to his mother, and his denial of his father likely served as a catalyst for it. It is not possible to clarify the specific cause of Lee's denial of his hometown, but it can be confirmed that he strongly denies his hometown, which is related to his parents, and ultimately to his motherhood. The relationship between Neunggeum and Gyeongseong is important in understanding Lee Hyo-seok’s literature, along with the place of birth, Gyeongseong's mother-in-law, birth mother, and hometown. For Lee Hyo-seok, Neunggeum is a symbol of nature and Gyeongseong. It's a subsitute for mother-in-law. Likewise, for Lee Hyo-seok, Neunggeum is a subsitute for his hometown and his mother. After all, Neunggeum is a subsitute of the lost hometown. What is very interesting, however, is that Neunggeum focuses on in Lee Hyo-seok’s novels, especially during the Gyeongseong period, and it disappears in his novels during Pyongyang. Lee Hyo-seok seems to have experienced some kind of mental trauma between his birth mother and Kang Hong-kyung, although the specific fact is unknown. While living at a family-in-law’s home in Gyeongseong, he relieves some of his childhood trauma, which is the result of his mother-in-law’s warm love. Thus, during the Pyongyang period, Lee Hyo-seok summoned his hometown, which was suppressed in his unconscious mind, and projected it into his work. At this time, he creates his masterpieces based on his hometown. It is his return to hometown.

뮤지컬에 반영된 청년 취향 연구 - 2010년대 이후 창작 뮤지컬을 중심으로

정명문 ( Chung Myung-mun ) 심훈학회 2024 심훈학보 Vol.4 No.0

This study focuses on musicals and audiences that have been produced since the 2010s and have become a repertory. During this period, popular works highlighting the youth were mass-produced along with the trend of youth discourse. Musicals are a genre that can confirm the tastes of contemporary young people because the main audience is in their 20s and 30s, and the box office success is determined by whether or not to sympathize. The subjects of the study are works that were developed or produced through the creative support system and have been performed for more than two long-term. This is because the world and interpretation viewed by repeated works are linked to the musical production environment and audience characteristics. In this period, the creative musical stage mainly called the past and characters, such as classical adaptations, real-life artists in the East and the West, and fantasy materials. The conflict between the main characters in the musical is due to social background, and diversity recognition and loose solidarity are presented as solutions. In other words, it is emphasized that the situations experienced by young people in the past are not their problems. This was adapted to the taste of the main audience who avoided enlightening growth, and later productions were applied as a major strategy, so it could be repeatedly produced. This study is meaningful in presenting a methodology for interpreting the relationship between musicals and audiences.

연재 송병선의 퇴은과 무계구곡(武溪九曲) 서벽정(棲碧亭) 경영

김종수 ( Kim Jong-su ) 심훈학회 2025 심훈학보 Vol.5 No.0

Song Byeong-seon, who was active during the reigns of Heonjong(憲宗) and Gojong(高宗) of the late Joseon Dynasty, was the 9th generation descendant of Song Si-yeol and a patriotic leader who founded and shared the Yeonjae School with his younger brother, Sim Seok-jae(心石齋) Song Byeong-soon(宋秉珣). However, there has not been sufficient discussion on Mugyegugok Valley and Seobyeokjeong Pavilion, which Song Byeong-seon created in Deogyu Mountain(德裕山), Muju(武州). Accordingly, this study first investigated the circumstances that Song Byeong-seon embarked on a self-comfortism(自靖路線) after being greatly disappointed by the discussion that is the premise of this case, namely Emperor Gojong's order to change the clothing system(衣制變改令). In the process, this manuscript glimpsed the conservative color embedded in Song Si-yeol’s logic of distinction between civilized and the Barbarians(華夷) and humans / animals(人獸) based on the moral principles of the Spring and Autumn period(春秋義理思想). Song Byeong-seon, who first visited Muju in 1866, toured the area around Hoengcheon(橫川), Deogyu Mountain in May 1869. At this time, Song Byeong-seon decided that the area around Hoengcheon, which he named Mugyegugok Valley, was suitable as a place of retreat. Especially, Song Byeong-seon loved the third valley where many famous places were gathered, and in June 1886, he built the Seobyeokjeong Pavilion, a “space to reside(棲息).” However, Seobyeokjeong Pavilion was destroyed by an unexpected fire, so Song Byeong-seon moved the site and rebuilt it in the spring of 1890 with the help of an acquaintance. Afterwards, Song Byeong-seon continued writing, lecturing, creative activities, and leisure travel(逍遙遊) at Seobyeokjeong Pavilion, and this trend continued until he was 70 years old when he committed suicide right after meeting Emperor Gojong in Seoul. In particular, it is noteworthy that Song Byeong-seon focused on holding annual spring and autumn(春秋) lectures(講會) at the Seobyeokjeong Pavilion with the aim of supporting the world of Confucian truth. In the joint literary record of the brothers Song Byeong-seon and Byeong-sun, who led the Yeonjae School, 『Gyesanyeonwonrok (溪山淵源錄)』, it is recorded that the disciples of Muju had the second largest number of members in Homan, which suggests that lectures at Seobyeokjeong Pavilion held a great impact on the local custom.