1970년대 전후 한국영화의 감정구조에 대한 고찰: ‘독특한 폐쇄성’을 중심으로 = ‘Specific Claustrophobia’: A Study on the Structure of Feeling in the 1970s Korean Cinema

다국어 초록 (Multilingual Abstract)

This essay discusses the Korean films before and after the 1970s, appropriating the Lee Young-il’s term, ‘specific claustrophobia’. It particularly traces the historical changes and its structure of feeling of the Korean films around the early 1970 when the Yushin constitution proclaimed long term dictatorship and amended film laws. The propaganda films around the time the President Park Jung-hee prepared for the long term dictatorship and the popular films as the counter action to them formed ‘specific claustrophobia’ as a dominantly unpleasant social feeling. With this feature, the genre films around that time, such as state policy films, erotic films, and younsang seadae films, which was regarded as the product of the youth culture or the films of young directors, can be affected with the national propaganda and filled with the negative feelings towards the oppression under the Park’s government. All films of that time including national policy film, erotic film and youngsang seadae film have the aesthetics of the closed film structure, the equivalent of the structure of feeling at that time.
In this paper, the state propaganda films are defined as the films produced, distributed, or supported by the State, Park Jung-Hee government. Paldogangsan (1967) was the successful propaganda film of the time, which shows how the nation-state drew and strengthened the popular support, thus unifying the people into the future of the state. Since then, the state propaganda films imitated and appropriated the features and conventions of the popular film of the time, such as the erotic film(so-called hostess film)and the youngsang seadae film. The struggle and competition between the state propaganda film and the popular film for the representation of women works as the nodal point to escape from the dichotomy of the existing film approaches; the dominance of the state and the passive resistance of the people.
The 70s Korean Cinema was the outcomes of the structure of the oppressive feeling which resulted from the repressed popular culture exposed to the state propaganda and also symptomatically revealed that they could not escape from the affective connection with the power which the state propaganda set up in spite of the gap between the people’s everyday lives and the state propaganda. Thus, I suggest that in this politics of affect, the passive resistance of the popular film should be found in the singular film, such as Im Kwon-taek’s Wang Sib Ri (1976), rather than in the hostess films or the youngsang seadae films.

참고문헌 (Reference)

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