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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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초록· 키워드
Hurrah! Freedom is known as the first liberation film in South Korean film history but it was also a film reflecting merged ideologies of the left and right wings directly after the World War Ⅱ. The original film is told disappeared during the Korean War. The preserved film in Korean Film Archive is not the original copy of 1946, but the restored print in 1975. I researched into what part disappeared and what part added by the restoration work through comparing the restored print and the original scenario. And then I found that the extant film is probably better called a destroyed version, not a restored version. Through the censored editing by anti-Japanese and anticommunist nationalism, Hurrah! Freedom could be made the nation narrative of South Korea.
I point out this canonical text has been overestimated in South Korean film history and suppose there goes an ideological adjustment of the audience's view for a long time. According to this assumption, I examine two scenarios rewritten around that time the restored was made under the Yushin(revitalizing reform) system taking anticommunism as a national policy. These scenarios contain anticommunist narrative the original work did not have. In conclusion, the imagination of nation narrative made Hurrah! Freedom rewritten as an anticommunist story and created a moralized vision that influenced the film to be canonized.
#Hurrah! Freedom
#<자유만세>
#canonical text
#정전화된 텍스트
#liberation film
#광복영화
#anticommunist film
#반공영화
#민족 이야기
#nation narrative
#melodramatic imagination
#멜로드라마적 상상력
#최인규
#Choi In-gyu
#전창근
#Jeon Chang-geun
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