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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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This paper agrees on the argument that lots of problems of the current Korean society has originated from the Modernization Project since the 1960s. And this paper has been interested in the assertion that Unification of South and North Korea is related to the cold war culture.
Subjectivity has been made and changed with time. It is neither in-born nor finished. This article focuses on films among lots of ideological state apparatus. Park's regime had over-used some ideological apparatus, for example, film, television, radio, and newspapers, etc., to try to cure the public's disgust of the long poverty and political struggles and to mobilize general public for national economic development as 'a Nation', as 'a modem nation'.
This paper focuses films, which had been positioned in the core of Mass Culture of the days and have had an important effect on the formulating the anti-communistic and pro-economic developmental Korean until the early 1970s in Korea. This paper suggests turning the existing view of sender-based, 'how and what does the state do to the public?' into another view of user-based, 'how and what does the public do to the state?' And then this paper, with this new view, tries to explain the real phenomena that mass/user agreed or obeyed or resisted the state's imposition from time to time.
So, the purpose of this paper is to solve couple of questions for research. First, how had the Park regime formulated film systems, i.e. the film law, film policy, the institution of the film and film industry, the film market, etc? And then what were the characteristics of the Korean film system? Second, did the film world and film audiences obey or resist the state's imposition? Third, how had the Modernization Project been represented in films?
This paper got some results as follows:
After experiencing the civil war from 1950 to 1953, Korean (of South Korea) might have shared anti-communistic sentiments. These group sentiments made them dream of being a nation in an advanced country like US. Under these conditions, Park's regime could appropriate the desire for modernization from the general public and the film world with the their consent, and could aim to get them have anti-communistic subjectivity.
Park's regime set up the National Film Production Center, which could produce lots of films directly. It meant the government owned an ideological communicating medium. And besides, the regime started awarding some films 'best film prize', so that they could lead the contents of films to certain direction.
The screening order, 'the national anthem film the News movie (Daehan News) the Cultural documentary film (Munhwa film) a main film', was compelled by law. Cinema audiences could not avoid this specific condition. Though this screening order, the regime could control the whole process from film production to film consumption. By imposing this screening order, the Park's regime could still intervene in the formation of the modem nation. Even though cinema audience didn't pay any attention to the cultural films and didn't consent to nor obey the regime's projects.
Most of film practitioners had accepted the demand from Park's regime about anti-communism without any resistances. They even had made voluntarily lots of films about anti-communism. That development ideology for mobilizing general public to be well-off could have some strong power in Korea was the reason why the development ideology and public's desire for escaping from the poverty and for entering modem country actually coincided.
General public had envied American for their modem wealthy life in the process of the interaction between the established rules for film, for example, mass production system, and authorization system giving foreign film quota to the best film prize awardees, and the shared feeling of US as the friendly neighbor. The authorization system giving foreign film quota to the best film prize awardees had led to the distorted structure, in which most film producer made Korean films for getting the foreign film quota. That American film could afford to industrialize the Korean film had become a distorted and weird rule in Korea. Hierarchy of rank between American film and Korean film got imbedded.
Subjectivity has been made and changed with time. It is neither in-born nor finished. This article focuses on films among lots of ideological state apparatus. Park's regime had over-used some ideological apparatus, for example, film, television, radio, and newspapers, etc., to try to cure the public's disgust of the long poverty and political struggles and to mobilize general public for national economic development as 'a Nation', as 'a modem nation'.
This paper focuses films, which had been positioned in the core of Mass Culture of the days and have had an important effect on the formulating the anti-communistic and pro-economic developmental Korean until the early 1970s in Korea. This paper suggests turning the existing view of sender-based, 'how and what does the state do to the public?' into another view of user-based, 'how and what does the public do to the state?' And then this paper, with this new view, tries to explain the real phenomena that mass/user agreed or obeyed or resisted the state's imposition from time to time.
So, the purpose of this paper is to solve couple of questions for research. First, how had the Park regime formulated film systems, i.e. the film law, film policy, the institution of the film and film industry, the film market, etc? And then what were the characteristics of the Korean film system? Second, did the film world and film audiences obey or resist the state's imposition? Third, how had the Modernization Project been represented in films?
This paper got some results as follows:
After experiencing the civil war from 1950 to 1953, Korean (of South Korea) might have shared anti-communistic sentiments. These group sentiments made them dream of being a nation in an advanced country like US. Under these conditions, Park's regime could appropriate the desire for modernization from the general public and the film world with the their consent, and could aim to get them have anti-communistic subjectivity.
Park's regime set up the National Film Production Center, which could produce lots of films directly. It meant the government owned an ideological communicating medium. And besides, the regime started awarding some films 'best film prize', so that they could lead the contents of films to certain direction.
The screening order, 'the national anthem film the News movie (Daehan News) the Cultural documentary film (Munhwa film) a main film', was compelled by law. Cinema audiences could not avoid this specific condition. Though this screening order, the regime could control the whole process from film production to film consumption. By imposing this screening order, the Park's regime could still intervene in the formation of the modem nation. Even though cinema audience didn't pay any attention to the cultural films and didn't consent to nor obey the regime's projects.
Most of film practitioners had accepted the demand from Park's regime about anti-communism without any resistances. They even had made voluntarily lots of films about anti-communism. That development ideology for mobilizing general public to be well-off could have some strong power in Korea was the reason why the development ideology and public's desire for escaping from the poverty and for entering modem country actually coincided.
General public had envied American for their modem wealthy life in the process of the interaction between the established rules for film, for example, mass production system, and authorization system giving foreign film quota to the best film prize awardees, and the shared feeling of US as the friendly neighbor. The authorization system giving foreign film quota to the best film prize awardees had led to the distorted structure, in which most film producer made Korean films for getting the foreign film quota. That American film could afford to industrialize the Korean film had become a distorted and weird rule in Korea. Hierarchy of rank between American film and Korean film got imbedded.
목차
1. 들어가는 글 : 1960년대에 대한 사회적 평가
2. 1960년대 국가권력과 영화계, 일반 대중의 관계
3. ‘잘살아보세’: 발전 논리와 반공 논리의 관계 방식
4. 산업화 강조 방식과 아메리칸 드림 형성의 관계
5. 결론
참고 문헌
Abstract
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