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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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초록· 키워드
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Motion pictures were first introduced in Korea in 1899. An American traveller, Elios Burton Holmes(1870-?) showed a motion picture in the palace to Emperor Kojong and personages of the royal court. At this time, only a few specially chosen people could see films. However, as popular interest grew, American businessmen Henry Collbran and H.R. Bostwick started charged public screenings. This was in June of 1903.
Film production in Korea began in 1923. With this beginning, numerous enthusiastic cineastes appeared and participated in film production. Among them, Na Woon-Kyu(1902-1937) was a personality who attracted special attention. He started working in motion pictures as a actor in 1925 and broadened the scope of his zealous activities to include those of scriptwriter, director, and producer. During his lifetime, he acted in or directed 27 motion pictures. He was the first star to attract mass popularity, as well as a proficient director and a talented scriptwriter.
Particularly, Arirang (1926), for which he wrote the script and in which he played the leading role, was the most successful Korean motion picture produced up to that time, and it also made Na Woon-Kyu a popular star for the masses.
In 1945, Korea was liberated from Japanese colonial rule. However, Korea was divided into North and South, and from that time on maintained two different ideologies and systems. Naturally, the social roles of films were different, too. In South Korea, the role of mass entertainment was importantly brought into relief while in North Korea, the emphasis was put on the role of propaganda. Because North and South Korea maintained a politically and ideologically hostile confrontation, exchanges in all fields were limited in the extreme. Exchanges in the field of motion pictures were likewise strictly regulated.
Nevertheless, both North and South Korea judge Na Woon-Kyu as a pioneer representative of the Korean motion picture world and as a personality who formed a creative realm of motion pictures. It is noteworthy that, while maintaining two different systems since liberation, with different political and cultural understandings, North and South Korea have Na Woon-Kyu in common.
It should not be omitted that this is possible not only because Na Woon-Kyu's activities and success in motion pictures were especially important, but also because the period of his activities was limited to the Japanese colonial period. The period during which he was active in the motion picture industry between 1925 to 1937 was a time when the Japanese colonial rule was in place, but it can be said that it was not a period of forced political choices.
At the time when Na Woon-Kyu was active, the Korean motion picture industry was in dire need of manpower, equipment, and capital, among other things, for the production of films, and it was faced with extreme difficulties due to the lack of cultural and artistic understanding, not to mention the loss of national power under Japanese colonial rule. Needless to say, it was impossible to survive even a day living as a cineaste in such circumstances without beliefs based on the premise of self-sacrifice, but at least ideological choices were not brought up as important issues.
However, during the period after Japan started the Pacific War against the U.S. in the 1940s to the liberation in 1945, all artists and intellectuals were forced to participate in Japan's propaganda policy. Because of this, numerous artists and intellectuals such as Choi Nam-Sun and the famous novelist Lee Kwang-Su "changed coats" and committed the ineradicable error of aligning themselves with Japan's colonization policy.
In addition, after liberation from Japanese colonial rule, ideological antagonism intensified when Korea was divided into North and South. They showed extreme criticism and hostility towards characters of different ideologies, and because of this numerous people became victims of ideology.
At the least, Na Woon-Kyu passed away before the aforementioned period of conflict, and so he was free from various latent possibilities. Na Woon-Kyu is held up to the light as an subject of evaluation only for the results of the motion picture endeavors that he undertook, and he was in a position where he was able to stand free from pro-Japanese conduct or left and right wing ideological conflict and antagonism. It can be said that he did not fall into the various traps of "error" that may appear in so-called turning points in history. Both North and South Korea assess Na Woon-Kyu as a person who made films according to his beliefs, who opposed violent tyranny and authority through his films, and who raised national consciousness. This is because it is possible for both sides to assess his body of work for the work itself which does not lean to 'either side'.
However, although both North and South Korea definitely did assess Na Woon-Kyu as "a great cineaste" the reasons and aims for doing this were different. South Korea tried to find Korean cinema's nationalistic tradition in Na Woon-Kyu's films, while North Korea tried to find sources of revolutionary class struggle and feudalism in his films. This kind of approach toward understanding from both North and South Korea distorted Na Woon-Kyu increasingly into a mythical personage, and elements that could damage this personage and his status were reduced or concealed.
This paper endeavored to compare and analyze how North and South Korea evaluate and assess Na Woon-Kyu, and also touched upon the newly emerging attempts since 1997 to re-evaluate Na Woon-Kyu.
Film production in Korea began in 1923. With this beginning, numerous enthusiastic cineastes appeared and participated in film production. Among them, Na Woon-Kyu(1902-1937) was a personality who attracted special attention. He started working in motion pictures as a actor in 1925 and broadened the scope of his zealous activities to include those of scriptwriter, director, and producer. During his lifetime, he acted in or directed 27 motion pictures. He was the first star to attract mass popularity, as well as a proficient director and a talented scriptwriter.
Particularly, Arirang (1926), for which he wrote the script and in which he played the leading role, was the most successful Korean motion picture produced up to that time, and it also made Na Woon-Kyu a popular star for the masses.
In 1945, Korea was liberated from Japanese colonial rule. However, Korea was divided into North and South, and from that time on maintained two different ideologies and systems. Naturally, the social roles of films were different, too. In South Korea, the role of mass entertainment was importantly brought into relief while in North Korea, the emphasis was put on the role of propaganda. Because North and South Korea maintained a politically and ideologically hostile confrontation, exchanges in all fields were limited in the extreme. Exchanges in the field of motion pictures were likewise strictly regulated.
Nevertheless, both North and South Korea judge Na Woon-Kyu as a pioneer representative of the Korean motion picture world and as a personality who formed a creative realm of motion pictures. It is noteworthy that, while maintaining two different systems since liberation, with different political and cultural understandings, North and South Korea have Na Woon-Kyu in common.
It should not be omitted that this is possible not only because Na Woon-Kyu's activities and success in motion pictures were especially important, but also because the period of his activities was limited to the Japanese colonial period. The period during which he was active in the motion picture industry between 1925 to 1937 was a time when the Japanese colonial rule was in place, but it can be said that it was not a period of forced political choices.
At the time when Na Woon-Kyu was active, the Korean motion picture industry was in dire need of manpower, equipment, and capital, among other things, for the production of films, and it was faced with extreme difficulties due to the lack of cultural and artistic understanding, not to mention the loss of national power under Japanese colonial rule. Needless to say, it was impossible to survive even a day living as a cineaste in such circumstances without beliefs based on the premise of self-sacrifice, but at least ideological choices were not brought up as important issues.
However, during the period after Japan started the Pacific War against the U.S. in the 1940s to the liberation in 1945, all artists and intellectuals were forced to participate in Japan's propaganda policy. Because of this, numerous artists and intellectuals such as Choi Nam-Sun and the famous novelist Lee Kwang-Su "changed coats" and committed the ineradicable error of aligning themselves with Japan's colonization policy.
In addition, after liberation from Japanese colonial rule, ideological antagonism intensified when Korea was divided into North and South. They showed extreme criticism and hostility towards characters of different ideologies, and because of this numerous people became victims of ideology.
At the least, Na Woon-Kyu passed away before the aforementioned period of conflict, and so he was free from various latent possibilities. Na Woon-Kyu is held up to the light as an subject of evaluation only for the results of the motion picture endeavors that he undertook, and he was in a position where he was able to stand free from pro-Japanese conduct or left and right wing ideological conflict and antagonism. It can be said that he did not fall into the various traps of "error" that may appear in so-called turning points in history. Both North and South Korea assess Na Woon-Kyu as a person who made films according to his beliefs, who opposed violent tyranny and authority through his films, and who raised national consciousness. This is because it is possible for both sides to assess his body of work for the work itself which does not lean to 'either side'.
However, although both North and South Korea definitely did assess Na Woon-Kyu as "a great cineaste" the reasons and aims for doing this were different. South Korea tried to find Korean cinema's nationalistic tradition in Na Woon-Kyu's films, while North Korea tried to find sources of revolutionary class struggle and feudalism in his films. This kind of approach toward understanding from both North and South Korea distorted Na Woon-Kyu increasingly into a mythical personage, and elements that could damage this personage and his status were reduced or concealed.
This paper endeavored to compare and analyze how North and South Korea evaluate and assess Na Woon-Kyu, and also touched upon the newly emerging attempts since 1997 to re-evaluate Na Woon-Kyu.
목차
Ⅰ. 서론 : 나운규의 영화적 위상
Ⅱ. 해방 이전의 나운규에 대한 평가
Ⅲ. 해방 이후의 나운규에 대한 평가
Ⅳ. 나운규 연구의 문제점
Ⅴ. 새로운 시각, 새로운 평가
Ⅵ. 맺는 말
참고자료
ABSTRACT
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