영화에서의 일제말기 신체제 옹호 논리 연구

다국어 초록 (Multilingual Abstract)

The purpose of this paper is to examine why Korean film artists adjusted themselves to the Japanese Imperialism during the end of Japanese colonial period. In 1939, An Association For Chosun Film Artist(朝鮮映畵人協會), and in 1942, Chosun Film Making Company(朝鮮映畵製作株式會社) was organized by The Government-general on Korea(朝鮮總督府). Specially, this paper importantly deals with circumstances at that time.
After the outbreak of the Sino-Japanese War in 1937, the imperialist Japan which had announced the 'New System' intended to use the film, a weapon of propaganda and agitation, as one of control policy. They controlled the films by merging the production and distribution companies in Korea. According to the related data, however, many Korean film artists appear to have accepted the Japanese imperialistic policy for their own interest.
Many Korean film artists accepted the Chosonyounghwaryoung(朝鮮映畵令: Korea Film Act) hoping that the industrialization of Chosun film companies would stabilize the livelihood and keep their vested rights, and export the Chosun films abroad. The stabilization of living was the biggest temptation to resist.
Some film artists even supported the New System voluntarily and deliberately following the logic of the Greater East Asia Co-Prosperity Sphere(大東亞共榮圈) between the Western and Eastern confrontation.

목차 (Table of Contents)

• 1. 조선영화의 통제
• 2. 조선영화령 실시 과정
• 3. 조선영화인들의 신체제 옹호 논리
• 4. 맺음말
• 참고 문헌
• Abstract

참고문헌 (Reference)

1 "한국영화발달사" 1997

2 "한국연극사 근대편" 2003

3 "친일문학의 내적논리" 역락 2003

4 "일본의 무사도" 2005

5 "이영일의 한국영화사를 위한 증언록" 2003

6 "식민지시기 영화검열의 부당이기 취하기 한국의 할리우드 제1차 황금기 1926 1936을 중심으로" 동국대학교 한국문화연구단 연례 학술회의 2005

7 "소논문 및 잡지 강성률" (17) : 2005

8 "가려진 베일을 벗기고 정면을 응시하며 전창근 감독의 일제말기 행적 고찰" (2) : 2004

9 "名監督이 모여 朝鮮映畵를 말함>" ≪삼천리≫ 8 (≪삼천리≫ 8): 1936

10 "<銀幕에 보내는 나의 提唱 映畵監督을 찾어서-씨나리오 作家를>" ≪동아일보≫ 1940

11 "<美術學校를 나와서>" (1) : 1941

12 "<朝鮮映畵의 新出發>" ≪조광≫ 8 (≪조광≫ 8): 1942

13 "<朝鮮映畵振興의 目標>" ≪삼천리≫ 13 (≪삼천리≫ 13): 1941