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

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      https://www.riss.kr/link?id=A106482764

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      다국어 초록 (Multilingual Abstract)

      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.
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      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 “J...

      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.

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      참고문헌 (Reference)

      1 한상언, "해금할 수 없는 것을 해금하기—월북영화인 해금 30년의 여정" 구보학회 (20) : 211-238, 2018

      2 김한상, "탈식민 국가형성기 재외조선인들의 종족 상상: <해연(일명 갈매기)>과 서울영화주식회사의 영화를 중심으로" 아세아문제연구소 58 (58): 206-239, 2015

      3 정종화, "조선영화 <수업료>의 영화화 과정과 텍스트 비교 연구" 한국영화학회 (65) : 201-236, 2015

      4 김한상, "영화의 국적 관념과 국가영화사의 제도화 연구 - ‘한국영화사’ 주요 연구문헌을 중심으로 -" 한국사회사학회 (80) : 257-286, 2008

      5 정종화, "식민지기 조선의 문화영화 개념 형성에 관한 연구" 한국영화학회 (61) : 271-296, 2014

      6 김한상, "냉전체제와 내셔널 시네마의 혼종적 원천 -<죽엄의 상자> 등 김기영의 미공보원(USIS) 문화영화를 중심으로-" 한국영화학회 (47) : 87-111, 2011

      7 Korean Arts Institute, "Youngil Lee’s Testimony for Korean Film History. 4 vols" Sodo 2003

      8 Dong-a ilbo, "Yeobaeu Hwangryeohee yang geomchalcheong-eseo muncho(Actress Hwang Ryeo-hee under Investigation at the Public Prosecutors’ Office)"

      9 Bang, Suwon, "Wonju Bangsuwon sugi (Principle Bang Suwon’s Essay)" 134 : 153-158, 1940

      10 "Wanderer (Nageune). Directed by Gyu-hwan Lee"

      1 한상언, "해금할 수 없는 것을 해금하기—월북영화인 해금 30년의 여정" 구보학회 (20) : 211-238, 2018

      2 김한상, "탈식민 국가형성기 재외조선인들의 종족 상상: <해연(일명 갈매기)>과 서울영화주식회사의 영화를 중심으로" 아세아문제연구소 58 (58): 206-239, 2015

      3 정종화, "조선영화 <수업료>의 영화화 과정과 텍스트 비교 연구" 한국영화학회 (65) : 201-236, 2015

      4 김한상, "영화의 국적 관념과 국가영화사의 제도화 연구 - ‘한국영화사’ 주요 연구문헌을 중심으로 -" 한국사회사학회 (80) : 257-286, 2008

      5 정종화, "식민지기 조선의 문화영화 개념 형성에 관한 연구" 한국영화학회 (61) : 271-296, 2014

      6 김한상, "냉전체제와 내셔널 시네마의 혼종적 원천 -<죽엄의 상자> 등 김기영의 미공보원(USIS) 문화영화를 중심으로-" 한국영화학회 (47) : 87-111, 2011

      7 Korean Arts Institute, "Youngil Lee’s Testimony for Korean Film History. 4 vols" Sodo 2003

      8 Dong-a ilbo, "Yeobaeu Hwangryeohee yang geomchalcheong-eseo muncho(Actress Hwang Ryeo-hee under Investigation at the Public Prosecutors’ Office)"

      9 Bang, Suwon, "Wonju Bangsuwon sugi (Principle Bang Suwon’s Essay)" 134 : 153-158, 1940

      10 "Wanderer (Nageune). Directed by Gyu-hwan Lee"

      11 Kim, Ryeo Sil, "Tusa-haneun jeguk tuyeong-haneun singminji (Projecting Empire, Reflecting Colony)" Samin 2006

      12 "Tuition (Sueomnyo). Directed by In-gyu Choi and Han-jun Bang"

      13 "The neighbor’s Wife and Mine (Madamu to nyobo). Directed by Heinosuke Gosho"

      14 "The Town of Hope (Huimang-ui maeul). Directed by In-gyu Choi"

      15 "The Story of Chun-hyang (Chunhyangjeon). Directed by Myung-woo Lee"

      16 "The Sprinkler (Salsucha). Directed by Han-joon Bang"

      17 Crofts, Stephen, "The Oxford Guide to Film Studies" Oxford University Press 385-394, 1998

      18 "The Night before Independence Day (Dongnip jeonya). Directed by In-gyu Choi"

      19 Higson, Andrew, "The European Cinema Reader" Routledge 132-142, 2002

      20 "The Adventure of Ttolttori (Ttolttori-ui moheom). Directed by Gyu-hwan Lee"

      21 "Sweet Dream (Mimong). Directed by Ju-nam Yang and Fujie Yamazaki"

      22 "Suicide Squad of the Watchtower (Boro no kesshitai). Directed by Tadashi Imai"

      23 "Straits of Joseon (Joseon haehyeop). Directed by Gi-chae Park"

      24 "Spring of Korean Peninsula (Bando-ui bom). Directed by Byeong-il Lee"

      25 Lee, Hwa Jin, "Sound Politics: Theaters in Colonial Korea and Audience of the Empire" Hyeonsil munhwa yeongu 2016

      26 Jayu sinmun, "Shin yeonghwapyeong jayumanse (New Film Critique, Hurrah for Freedom)"

      27 "Shim Cheong. Directed by Seok-young Ahn"

      28 Chosun ilbo, "Seongbong yeonghwawon dongbo chein-e chamga (Seongbong Film Productions to Participate to Toho Chain)"

      29 Kinema junpo, "Nihon eiga hihyo: isari-bi (Criticism of Japanese Film: Fisherman’s Fire)"

      30 Chonghwa Chung, "Negotiating Colonial Korean Cinema in the Japanese Empire: From the Silent Era to the Talkies, 1923-1939" 민족문화연구원 (5) : 136-169, 2012

      31 "My Hometown Village (Nae gohyang). Directed by Hong-sik Gang"

      32 "Motion Picture and Video Promotion Act of 2007, No. 16061"

      33 "Military Train (Gunyong yeolcha). Directed by Gwang-je Seo"

      34 "Miles Away from Happiness (Bokji malli). Directed by Chang-geun Jeon"

      35 "Love and the Vow (Ai to chikai). Directed by In-gyu Choi"

      36 "Look up at the Blue Sky (Uleuleola changgong). Directed by Yeong-hwa Kim"

      37 Seo, Gwang-je, "Joseon yeonghwa-ui jangnae” (Future of Joseon Film)"

      38 Maeil Shinbo, "Joseon yeonghwa-ui insang(Impression of Joseon Film)"

      39 Samcheolli, "Joseon munhwa geub saneop bangnamhoe, yeonghwa pyeon(Joseon Culture and Industry Exhibition, For Film)"

      40 Chosun ilbo, "Jeongneung seutadio gaesoshik seongdae geohaeng (Grand Opening Ceremony of Jeongneung Studios)"

      41 Kyunghyang sinmun, "Jayumanse-reul bogo (Watching Hurrah for Freedom)"

      42 Kyunghyang sinmun, "Jayumanse jungguk-pan(Chinese Version of Hurrah for Freedom)"

      43 "I Will Die Under the National Flag (Gukgi mit-e na-neun jugeuri). Directed by Ik Lee"

      44 "Hurrah For Freedom (Jayu manse). Directed by In-gyu Choi"

      45 Dong-a ilbo, "Heulleogan myeonghwa gamsanghoi sangyeong jakpum yeoldupyeon seonjeong (A Special Show for Classic Noted Films Selected 12Films)"

      46 Kyunghyang sinmun, "Heulleogan guksan myeonghwa han nun-e(Watching Domestic Classic Films at One View)"

      47 "Happiness (Geudeul-ui haengbok). Directed by Gyu-hwan Lee"

      48 Lee, Yeong-il, "Hanguk yeonghwa jeonsa (The Complete History of Korean Cinema)" Sodo 2004

      49 Lee, Yeong-il, "Hanguk yeonghwa jeonsa (The Complete History of Korean Cinema)" Samaesa 1969

      50 Kyunghyang sinmun, "Gyeongnam-e sonyeon gamhwawon (Boys’ Reform School at Gyeongnam Province)"

      51 Kinema junpo, "Gunyo ressha rokuon de mun yebong Ikko raicho (Mun Yebong’s Party Visiting Japan for Recording the Film Military Train)"

      52 Choi, In-gyu, "Gukgyeong-eseo dongnip jeonya-e—Sibyeonyeon-ui na-ui yeonghwa jaseo (From Border to The Night before Independence Day—My Autobiography of Ten Years in Film)" 18 : 1948

      53 Kyunghyang sinmun, "Goryeo yeonghwa Choisajang-do piso (Head of Goryeo Film Company, Choi Facing Lawsuit)"

      54 "Fisherman’s Fire (Eohwa). Directed by Cheol-young Ahn"

      55 Police Security Service of the Ministry of Home Affairs, "Film Censorship Bulletin" Funi Publications 1985

      56 "Ex-Convict (Jeongwaja). Directed by So-bong Kim"

      57 Kim, Dong Hoon, "Eclipsed Cinema: The Film Culture of Colonial Korea" Edinburgh University Press 2017

      58 "Dawn of the Nation (Minjok-ui saebyeok). Directed by Gyu-hwan Lee"

      59 "Dance of Jang Chu-hwa (Jangchuhwa muyong). Directed by In-gyu Choi"

      60 Lee, Hwa Jin, "Complete History of the Korean Film, Whereafter–Fruits and Limits of Recent Korean Film Studies on the Late Colonial Era" 11 : 239-261, 2011

      61 Eiga hyoron, "Chosen eiga no zenbo wo kataru (Speaking of Whole Story of Joseon Cinema)"

      62 Nihon eiga, "Chosen eiga no gensho wo kataru (Speaking of Phenomena of Joseon Film)"

      63 "Chocolate and Soldiers (Chokoreto to heitai). Directed by Takeshi Sato"

      64 "Children of the Sun (Taiyo no kodomodachi). Directed by In-gyu Choi"

      65 Eiga hyoron, "Chiho toshi kogyo gaikyo: keijo (Overall Condition of Box Office at Local Cities: Gyeongseong)"

      66 "Byeongjeongnim (Dear Soldier). Directed by Han-joon Bang"

      67 "Boys Town. Directed by Norman Taurog"

      68 "Balguldoin gwageo sebeonjjae byeongjeongnim (The Past Unearthed, The Third Encounter: Dear Soldier). Directed by Korean Film Archive"

      69 "Balguldoin gwageo dubeonjjae (The Past Unearthed: The Second Encounter Collection of Chosun Films in the 1930s). 3 discs. Directed by Korean Film Archive"

      70 "Balguldoin gwageo (The Past Unearthed: Collection of Feature Films Series). 4 discs. Directed by Korean Film Archive"

      71 "Arirang Pass (Alilang gogae). Directed by Gae-myeong Hong"

      72 "Angels on the Streets (Jip eomneun cheonsa). Directed by In-gyu Choi"

      73 "An Innocent Criminal (Joe-eobneun joe-in). Directed by In-gyu Choi"

      74 "A Seagull (Haeyeon). Directed by Gyu-hwan Lee"

      75 "A National Referendum (Gugmin tupyo). Directed by In-gyu Choi"

      76 "A Ferry Boat that Has No Owner (Imja-eomneun narutbae). Directed by Gyu-hwan Lee"

      77 김려실, "<자유만세>의 탈정전화를 위한 시론(試論) - 현존 시나리오와 영화의 차이를 중심으로 -" 한국현대문예비평학회 (28) : 281-306, 2009

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