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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
오류제보하기
An animation film based on Jeong Chae Bong's original tale for children titled <Ohsae-am/五歲庵>(1984) hit the theaters in 2003. Originally, Ohsae-am was a Buddhist hermitage called Gwaneum-am/觀音庵 and located at the Seolak Mountain, Gangweon-do province. But when the hermitage was renovated by priest Seoljeong/雪淨 in 1643(21st year of King Injo's reign), the hermitage was renamed to the current title Ohsae-am. According to some folklore tales, priest Seoljeong once had to leave his nephew alone at the Gwaneum-am hermitage to visit the local market, but was unable to return immediately due to that winter's heavy snow falling. Yet when he desperately returned to the hermitage in the next spring, he found that his nephew miraculously survived 3 months of a severe winter, there, all by himself. It is said that, after realizing that the caretaking from the Gwaneum Buddha must have been behind his nephew's survival, he changed the hermitage's name to Ohsae-am. This kind of folklore is what is now usually called, 'The tale of the mysterious power of the Gwaneum Buddha'.
But Tale writer Jeong Chae Bong revised the story to feature more modern qualities, and the concept of sorrow or bitterness(the so-called Han/恨 mentality), which was the most widely recognized form of emotion by the ethnocentric mentality of the 1970s' Korean society, was prominently added to the story. And the concept of the main feature Ohsae-am was changed to the concept of a place, for a certain child encountering its long-awaited mother.
And later, the animation film <Ohsae-am>, continuing to uphold the newly suggested spirit of the revised tale, mainly focused on concepts such as the orphaned brother and sister, the emotion of bitterness and their long-awaited mother etc., which were all allegedly so 'Korean' in their very nature. But the film itself was not so well-received by the general public. What would have been the problem?
The so-called emotion of Han/恨 is more of a concept devised and conceptualized during the early days of the 20th century, under the rule of Imperial Japanese occupation authorities. It was a concept brought to us by yet another alien and hostile culture, and was not a concept developed by ourselves. Furthermore, this emotion of sorrow and bitterness represents more of a 'weak female' image in contrast to the supposedly 'strong male' image. It should be needless to say that the former represents the colonized Korea, while the latter does the occupying Japan. So it would rather seem obvious that this kind of emotion or concept is not at all desirable or practical to be developed as a theme for projects dealing with Korean themes nowadays. The theme, albeit in a different story structure and in different tones, may have appealed to the readers in the 1980s, but it should be considered a questionable act at best to try to recapture the audience's interest with the same contrived theme.
But Tale writer Jeong Chae Bong revised the story to feature more modern qualities, and the concept of sorrow or bitterness(the so-called Han/恨 mentality), which was the most widely recognized form of emotion by the ethnocentric mentality of the 1970s' Korean society, was prominently added to the story. And the concept of the main feature Ohsae-am was changed to the concept of a place, for a certain child encountering its long-awaited mother.
And later, the animation film <Ohsae-am>, continuing to uphold the newly suggested spirit of the revised tale, mainly focused on concepts such as the orphaned brother and sister, the emotion of bitterness and their long-awaited mother etc., which were all allegedly so 'Korean' in their very nature. But the film itself was not so well-received by the general public. What would have been the problem?
The so-called emotion of Han/恨 is more of a concept devised and conceptualized during the early days of the 20th century, under the rule of Imperial Japanese occupation authorities. It was a concept brought to us by yet another alien and hostile culture, and was not a concept developed by ourselves. Furthermore, this emotion of sorrow and bitterness represents more of a 'weak female' image in contrast to the supposedly 'strong male' image. It should be needless to say that the former represents the colonized Korea, while the latter does the occupying Japan. So it would rather seem obvious that this kind of emotion or concept is not at all desirable or practical to be developed as a theme for projects dealing with Korean themes nowadays. The theme, albeit in a different story structure and in different tones, may have appealed to the readers in the 1980s, but it should be considered a questionable act at best to try to recapture the audience's interest with the same contrived theme.
목차
1. 한국적 정서와 애니메이션〈오세암〉
2. 과연 가장 한국적인 것이 가장 세계적인가?
3. 디즈니 애니메이션의 소재 : 유럽의 옛날이야기
4. 가능성 탐구
Abstract
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