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초록· 키워드
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This study is an attempt to explore one of the neglected fields in the Korean film academia: the role of archiving in the pursuit of cultural diversity in film. Film archiving activities in Korea have grown rapidly since the early 2000's when Korean film industry reached its peak and various cultural approaches to the cinema were advanced by film festivals, film clubs, and art-house cinema advocacies. We have been observing some significant positions paying attention to film archiving in Korea since. firstly, Films should be considered as not only private asset but also cultural heritage belonging to the public. The film production itself is owed to a culture as collective imagination and is appreciated by the public. Secondly, Film archiving is a platform to achieve and maintain cultural diversity by preserving and circulating films produced from different cultures and politics. Thirdly, the position to see the film as public resources does not confront the industrial interest from the broader perspective. Forth, film archive is an important medium to contribute to the informative democracy.
There have been several institutions and organization conducting film archiving and related activities in Korea. Korean Film Archive (KOFA) is the only institution whose status is protected by the law. KOFA is also financed by the governmental fund. It is from 2002 that KOFA has transformed its organization into more accessible and professional one with a new management mind as "the public servant." The critical difference KOFA made by way of this renovation and reform is to make efforts on the public access and the scholarship on the Korean film history and archiving inside of the organization. Another key role of film archiving in Korea was performed by film clubs or cinematheques located nationwide. Korean Cinematheque Association, consisting of fourteen clubs from different regions, have been running screening programs of classic cinemas as well as film education workshops.
In spite of the progress of film archiving in recent Korea, there are several aspects to speculate about in order to make the film archives and cinematheques to play certain role in achieving and maintain cultural diversity in film, firstly, film acquisition and selection should include independent films with non-theatrical release, which is not enforced by the law. Secondly, digital archiving technology is on its way and needs more researches on and development of standard format, related copy-right laws, and so on. Thirdly, public access is currently limited to Seoul metropolitan area. To overcome this limitation is critical to make the film archive which is financed by national taxes play a role in the public reception of the films from different histories, cultures, and politics. Fourth, specialized studies and specialist training on film archiving should be initiated and supported in order to respond to the changing conditions technical as well as political. Finally, considering the colonial history of Korean cinema, Korean film archiving needs to be connected with other Asian region through which the lost track of Korean cinema will possibly be discovered and re-defined.
There have been several institutions and organization conducting film archiving and related activities in Korea. Korean Film Archive (KOFA) is the only institution whose status is protected by the law. KOFA is also financed by the governmental fund. It is from 2002 that KOFA has transformed its organization into more accessible and professional one with a new management mind as "the public servant." The critical difference KOFA made by way of this renovation and reform is to make efforts on the public access and the scholarship on the Korean film history and archiving inside of the organization. Another key role of film archiving in Korea was performed by film clubs or cinematheques located nationwide. Korean Cinematheque Association, consisting of fourteen clubs from different regions, have been running screening programs of classic cinemas as well as film education workshops.
In spite of the progress of film archiving in recent Korea, there are several aspects to speculate about in order to make the film archives and cinematheques to play certain role in achieving and maintain cultural diversity in film, firstly, film acquisition and selection should include independent films with non-theatrical release, which is not enforced by the law. Secondly, digital archiving technology is on its way and needs more researches on and development of standard format, related copy-right laws, and so on. Thirdly, public access is currently limited to Seoul metropolitan area. To overcome this limitation is critical to make the film archive which is financed by national taxes play a role in the public reception of the films from different histories, cultures, and politics. Fourth, specialized studies and specialist training on film archiving should be initiated and supported in order to respond to the changing conditions technical as well as political. Finally, considering the colonial history of Korean cinema, Korean film archiving needs to be connected with other Asian region through which the lost track of Korean cinema will possibly be discovered and re-defined.
목차
1. 서론
2. 한국영화 아카이빙의 상황
3. 한국영화 아카이빙의 현안
4. 결론: 문화 다양성과 영화아카이빙
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