일제강점기 한국에서의 초기 독일영화 수용양상 -1910년대를 중심으로

김금동 ( Keum Dong Kim ) 한국독어독문학회 2011 獨逸文學 Vol.117 No.-

In diesem Aufsatz wird die Frage, seit wann, wie und welche deutschen Filme in Korea vorgefuhrt wurden und was der koreanische Zuschauer in den deutschen Filmen gesucht hat, in den Mittelpunkt gestellt. Bei der Suche nach der Antwort ist zu hoffen, durch die filmhistorische Spurensuche der in Korea vorgefuhrten deutschen Filme ein kleines Stuck der koreanischen Filmgeschichte rekonstruieren zu konnen. Dabei darf man nicht aus den Augen verlieren, daß damals Korea von Japan besetzt war und Japan nicht nur den politischen und sozialen, sondern auch denkulturellen Rahmen bestimmte und somit auch der koreanische Filmbereich vollig von Japan abhangig bleiben mußte. Anhand der Filmreklame der Maeil-Tageszeitung wurden die fruhen deutschen Filme schon im Jahr 1912 in Korea gezeigt. Es waren 3-5-minutige, kurze Dokumentarfilme, die die siegreiche Ruckkehr der deutschen Truppen, Großstadte wie Frankfurt oder die deutsche Fuchsjagd darstellten. Die Welt in diesen deutschen Filmen war aber fur die Augen des koreanischen Publikums eine glanzende und modernizierte Wunderwelt, die sie niemals erreichen konnten. Je mehr man durch die Filme von der modernisierten westlichen Welt erfuhr und dadurch das Elend der Wirklichkeit deutlicher erkannte, um so wollte man im Kino weiter und tiefer traumen. Gegen Ende des 1. Weltkriegs wurden von Japan in Korea mehrere deutsche Spielfilme eingefuhrt und gezeigt, die bereits die Erzahlform vollendet und die filmischen Verfahren entwickelt hatten. Falls der koreanische Zuschauer erwartet hat, mit Spannung, Stunts oder opulenten Kulissen uberwaltigt zu werden, haben die deutschen Detektivfilme wie Stuart Webbs von Joe May und Filmserien wie 3-teilige Film <Veritas vincit (Die Wahrheit siegt)> seine Erwartungen erfullt. Obwohl diese Kinofilme alle Stummfilme waren, war es im Kino sehr laut. Es wurde im Kino geschrien, in die Hande geklatscht, gestampft oder gelacht. Der koreanische Zuschauer genoß nicht nur den Film, sondern auch diese lebendige Atmosphare des Kinos zusammen mit anderen. Und in diesem Sinne war das Film anschauen nicht ein individuelles, sondern ein kollektives kulturelles Ereignis. Zu diesem Ereignis paßten die deutschen Detektivfilme und die Filmserien sehr gut. Sie trugen auf gewisse Weise dazu bei, den Film in Korea als alltagliche Kultur zu etablieren. Die Detektivfilme und die Filmserien, die zu den fruhen deutschen Filme gehoren, hatten bereits in Deutschland beim Publikum großen Erfolg gehabt und die deutsche Filmkunst stark beeinflußt. Außerdem standen zu Beginn des Films die Sensation und die Experimentierfreude im Vordergrund. In diesem Sinne kommt den fruhen deutschen Filmen durchaus eine große Bedeutung zu. Aber sie wurden nicht archiviert und die Mehrzahl von ihnen gilt heute als verschollen. Und in der Filmwissenschaft hat diese Fruhphase des Films keine Aufmerksamkeit erregt.

독일 위생영화의 수용과 순응하는 식민지 주체 형성

김금동(Kim,Keum Dong) 한국영화학회 2012 영화연구 Vol.0 No.51

리펜슈탈의 <의지의 승리 Triumph des Willens>에 나타난 추상적 의미 구성과 바이마르 영화미학

김금동 ( Keum Dong Kim ) 한국독일언어문학회 2013 독일언어문학 Vol.0 No.62

In der vorliegenden Arbeit wird sich mit der Antimodernitat des Riefenstahls Triumph des Willens in Bezug auf der Filmasthetik in der Zeit der Weimarer Republik auseinandergesetzt. Jeffrey Herf definiert den Nationalsozialismus als “reaktionaren Modernismus“ und betrachtet ihn als eine sakulare fundamentalistische Bewegung, an der auch viele Ingenieure und Intellektuelle der Weimarer Republik beteiligt waren und die die moderne Technologie akzeptierte, die zugleich aber die Modernitat der Aufklarung ablehnte. In der Tat verbreitete sich der reaktionare Modernismus auch im Bereich des Films in der Zeit der Weimarer Republik. Daher stellt sich die Frage, welchen Einflub die Asthetik des Films und des reaktionaren Modernismus der Weimarer Republik auf den Film Triumph des Willens ausgeubt haben. Durch die Filmanalyse labt sich feststellen, dab einige der wichtigsten stilistischen Verfahren des Films auch im Fancks Bergfilmen und Ruttmanns Querschnittfilmen zu finden sind. Zum Beispiel werden oft die Zuhorer von oben, Hitler hingegen von unten aufgenommen, und gerne wird er aus Untersicht vor endlosem Himmel gezeigt. Eine solche Perspektive ist auch in Fancks Bergfilmen beliebt. Auftritte der namenlosen Masse im Film sind auch haufig in Ruttmanns Querschnittfilmen zu sehen. So lasst sich der Spur der Asthetik von Fancks Bergfilmen und Ruttmanns Querschnittfilmen in Triumph des Willens spuren. Auberdem akzentuieren Riefenstahls Bilder die geometrische Anordnung von aufgereihten Zelten und der marschierenden Mannergemeinschaft, die im Ornament der Masse zu einem disziplinierten Korper verschmilzt. Mit solchen stilistischen Verfahren stellt der Film mittels Abstraktion die Einheit der Nation, des Fuhrers und des Volks, die freiwillige Teilnahme des Volks, die Ordnung zwischen dem Volk und dem Fuhrer dar. Aber auf der Kehrseite impliziert der Film den Totalitarismus, der Unterdruckung des Individuums und den Verlust der personlichen Freiheit bedingt. Auf dieser Weise genugt der Film der wichtigsten Aufgabe, die die national- sozialistische Propaganda zu erfullen hat.

김기덕 감독의 영화 〈파란대문〉에 나타나는 미학적 특징과 관객의 새로운 역할

김금동(Kim Keum Dong) 한국영화학회 2005 영화연구 Vol.0 No.25

The purpose of this study is to analyze the film-structure, new role of the viewer and the aesthetic of Kim Ki-duk's Film 〈The Birdcage Inn〉. His Film has the following structure-characteristic: 1. The film omits to dearly represent the characters' view of the world. 2. The film describes events realistically and objectively without showing the cause and effect of the events. The structure of the film encourages viewers to fully immerse themselves into the character's view of the world and the cause/effect of the events Based on the strucrure, this film illustrates how ordinary people misunderstand basic human desires as being immoral instincts and injure the sociallayer at the bottom emotionally. The film is still able to represent the changes of the character's view of the world that all humans are equal and apart of an equivalent world. The motif of the film is brilliantly emphasized through the use of uncommon and diversified symbols.

나치의 영화정책이 식민지 조선영화에 미친 영향 (1) -나치의 영화정책을 통한 영화자본과 영화인력의 통제방식-

김금동 ( Keum Dong Kim ) 한국독어독문학회 2015 獨逸文學 Vol.56 No.1

In dieser vorliegenden Arbeit wird versucht, eine Uberblick zu verschafften, wie das Dritte Reich die Filmfinanz und die Filmschaffenden durch die Filmpolitik unter Kontrolle gebracht hat. Als das neue Medium Film in die Welt kam, nahm Deuschland anders als die anderen Lander daruber sehr ernst, daß die bewegten fotografischen Bilder des Films die hochste Realitatsnahe der Darstellung ermoglichen und daher der Film auf den Zuschauer einen großen Einfluß nimmt. Besonders die Intellekturellen erkannten das Filmmedium als Erziehungsmittel des Volks und behaupteten, daß der Film fur die gesamte Volkerung dienen muß und den positiven Einfluß auf die Schule und die Gesellschaft ausuben soll. Dieser konservativen Filmdiskurs verbreitete sich und schlug seine Wurzel in die deutschen Gesellschaft der Weimarer Republik und wurde in das Dritte Reich uberliefert. Nach der Machtergreifung der Nationalsozialisten im Jahre 1933 ubernahm Goebbels als Reichsminister fur Volksaufklarung und Propaganda die Lenkung des gesamten Kulturbereichs. Er erkannte, daß der Film fur die Nation dienen kann und zur politischen Beeinflussung geignet ist. Der Film muß von einem einheitlichen staatlichen Willen kontrolliert werden und als Vortrupp der nationalen Propaganda fungieren. Zuerst wurde im Jahr 1933 die Filmkreditbank GmbH, die die Filmproduktionsfirmen finanziell untersutzen soll. Durch diese finanzielle Filmpolitik laßten sich die Filmfirmen unter der politischen Ideologie unterwerfen. Goebbels setzte nicht nur auf eine finanzielle Unterstutzung, sondern vor allem auf eine personelle Neuausrichtung der Filmproduktion, und im gleichen Jahr wurde die Reichsfilmkammer gegrundet. Wer in die Reichsfilmkammer nicht aufgenommen oder ausgeschlossen wurde, durfte nicht als Regisseur, Schauspieler, Kameramann oder Produzent tatig sein. Das bedeutete Berufsverbot. Und durch das Lichtspielfilmgesetz im Jahr 1934 Goebbels brachte letzt endlich die ganzen Filmindustrie unter Kontrolle.

트뤼포(Francois Truffaut) 영화의 특징

김금동(Kim Keum-Dong) 한국영화학회 2004 영화연구 Vol.0 No.23

This paper newly examines the films of Truffaut from the viewpoint of Self￢Reflexivity, which is now on the rise, as a theory in the methods of film study. Nouvelle Vague, which started in the 1%0' s in France, is an film movement dose to the concept of Self-Reflexivity of films, Especially, the films of Truffaut and Godard had the features of Self-Reflexivity in their films, With all this Self-Reflexivity in their movies, their films have not studied yet in Korea from the viewpoint of Self￢Reflexivity. Truffaut had a more clear understanding of traditional films than any other directors, and based on the understanding, he created movies of new style. The characteristics of his movies will be exan1ined by analyzing his new style films from the viewpoint of Self-Reflexivity in the films, Therefore, in the paper the followings will be more specifically examined centering on (Les 400 coups) , one of his films. 1. How he understood the traditional films. 2. What kind of relations there are between his understandings on the traditional films and new film-language development. 3. How he understood the spectators. 4. How Self-Ret1exivity and his understanding of the spectators are related.

알레고리 영화로서의 〈마더〉

김금동(Kim Keum Dong) 한국영화학회 2010 영화연구 Vol.0 No.45

Bong, Joon-ho's 〈Mother〉 seems to deal with insane maternal affection. However, the film contains too many vague and unclear scenes to be considered drawing only a mad mother's love, and as these obscure and uncertain scenes don't belong tightly to narrative of maternal affection, it sometimes seems to be unnecessary and useless. This study examines on what 'layer of meaning' is hidden behind 'layer of surface' of maternal affection in Mother as an allegorical film, relying upon the fact that the obscurity and ambiguity Mother has are in line with the discontinuous and fragmented aspects of allegories in Walter Benjamin's 『The Origin of German Tragic Drama(Ursprung des deutschen Trauerspiels)』. Events surrounding Hyeja and Dojun; Jintae and Ajeong; and the old man in a junkyard, etc. describe tragic contemporary Korean history and citizens as the subjects who have led the contemporary history, Dojun and Jintae signify the South and the North Korean governments, respectively, bom as twins by the tragedy of the national division after Japanese occupation period; Hyeja who is in a mother-son relationship, the citizens who established the South Korean regime; Mina who is a daughter of the Manhattan, the U.S.; Ajeong, many youths who had been sacrificed while shouting for democratization criticizing the violation of human rights; and the old man in the junkyard, the uncomfortable truth of history which we want to throwaway like junks. The film depicts through character of Hyeja our image as the people who have undemocratic and violent propensity and our portrait as the subjects of history who make tragic history repeated by distorting, hiding and forgetting our own images and realities. Moreover, through the relationships among all characters, the film describes the issue of the division after the independence; that of ending pro-Japanese sentiment by South Korea and North Korea; the hostile, symbiotic relationship between South Korea and North Korea; and the relationship between North Korea and the U.S. over the issue of nuclear weapons. Like this, the film hides the layer of meaning of the tragic contemporary Korean history; the repetition of tragic history; and the relationship between them and our portrait as the people who are undemocratic and violent; who distort, hide and forget the truth under the surface layer of maternal affection. The director's view on the tragic and desperate history contained in the layer of meaning of Mother doesn't originate from the sense of despair from the salvation that is no longer realizable but from recognizing the desperate situations from beginning to end from the persistent recognition. Mother, based on the results of such a recognition, thus, suggests an insight through which we can see through all the tragic properties of contemporary Korean history, getting out of a step of simple accumulation of historical facts or of the faithful description of the facts.

외환위기 이후 금융자본 및 영상전문 투자조합이 한국영화산업에 미친 영향

김금동 ( Kim Keum Dong ) 한양대학교 현대영화연구소 2019 현대영화연구 Vol.15 No.1

본 논문은 IMF 이후부터 2000년대 중반까지 영화산업의 주요한 자금원이었던 금융자본 및 영상전문투자조합의 개념과 금융자본이 영화산업에 투자를 가능케 한 정부정책의 변화를 살펴보고, 이를 바탕으로 금융자본이 제작 활성화에 미친 영향과 영상전문투자조합의 투자형태 및 그에 따른 문제점을 고찰한다. 이러한 고찰을 통해 1990년대 말 한국영화의 르네상스를 맞이할 정도의 질적, 양적 발전을 이룬 영화산업에 대해서는 물론 현재에도 영화제작비의 40%, 한국영화 총 편수의 60% 정도에 자본조달 함으로써 여전히 중요한 역할을 하고 있는 영상전문 투자조합에 대해서 이해한다. 1990년대 중반부터 정부정책의 변화로 영화산업에 투자를 시작할 수 있었던 금융자본은 풍부한 제작자본을 조달했으며, 특히 2000년 이후부터 결성되기 시작한 영상전문투자조합은 현재까지 안정적이고 지속적인 자본조달을 통해 한국영화의 고질적인 제작자본 문제를 해결해줌으로써 한국영화산업의 성장과 발전의 원천이 되었다. 그러나 영상전문투자조합들이 메이저 투자배급사의 프로젝트 참여하게 되면서 영상전문투자조합의 투자자본이 메이저 투자배급사의 프로젝트에 집중되었을 뿐 아니라 영상전문투자조합의 수익률 또한 더욱 저하되었으며, 메인 투자배급사가 제작사와의 역학관계에서 우위를 점하는데도 영향을 미쳤다. 이러한 문제를 해결하기 위해 메이저 투자배급사의 투자조합 참여를 제한한 결과 메이저 투자배급사는 사모펀드를 통해, 창투사들은 라인업펀드 등을 통해 투자하기 시작했다. 이로 인해 상대적으로 모태펀드의 영향력이 약화되었음은 물론 텐트폴 영화 같은 대작들은 투자받기 쉬워진 반면 중·저 예산 영화는 투자 받기는 점점 더 어려워지고 있다. Korean film industry has experienced a renaissance by qualitative and quantitative development based on financial capital such as venture investment companies newly introduced in the movie industry in the late 1990s, and as a result, increased gradually, making the share of Korean movies exceeding 50% and reaching 63.8% in 2006, which became the basis of growth of Korean movie industry. In addition, The film investment association, which emerged in the 2000s, is responsible for most of the of the film production cost excluding the investment amount of the investing distributor, standing key axis in film production costs of Korean movies. Although the film investments association contributed to the stabilization of the movie industry, in a response to increased risk due to declining profitability caused by the collapse of the ancillary right market and the sharp increase in production costs, they changed their investment position to more conservative ones including the participation as a partial investor to a project where large conglomerates is a main investor. These changes resulted in the insolvency of production companies and concentrating of capital on the project involved with major investors, and eventually to strengthened market dominance and monopoly/oligopoly of major investors, thus distortion and problems in soundness and stability of the movie industry. These problems directly linked to deterioration of profitability made the investors to withdraw, resulting in a vicious cycle in the movie industry. It was suggested, therefore, that serious discuss about these problem and examination of the overall structure of the film culture industry are needed.

비디오를 통한 관람 공간의 재편(1987-1997)

김금동(Kim, Keum Dong),정태수(Jeong, Tae Soo) 한국영화학회 2017 영화연구 Vol.0 No.73

오랜 세월 동안 극장이라는 요람을 벗어나지 못했던 영화는 비디오를 통해 마침내 극장이라는 공적공간을 벗어나 가정이라는 사적공간에 진입할 수 있게 되었다. 그러나 가정으로 들어갔던 영화는 미디어의 발전과 그에 따른 환경변화와 함께 모바일 같은 매체를 통해 다시 도시의 공적공간으로 되돌아가 그 공간을 사사화하고 있다. 이처럼 영화의 발전이 끊임없는 공간적 재편을 통해 이루어지고 있고, 따라서 영화가 단순히 연대기적으로가 아닌 공간적인 맥락에서 이해되어야 할 필요성이 제기된다. 이렇게 영화의 발전을 공간과의 관계라는 관점에서 보면 ‘한물간’ 매체로 여겨지는 비디오는 오히려 본격적으로 영화관람의 공간적 재편을 주도한 최초의 매체로서 그 시작점에 위치한다고 볼 수 있다. 따라서 본고는 구체적으로 비디오가 사적인 공간으로 가내화되면서 도시의 공적 공간들이 어떻게 변화했으며, 비디오산업과 문화운동 공간은 비디오문화의 질적 향상과 어떤 관계가 있는지 그리고 서로 다른 공간인 극장과 사적공간에서 이루어지는 관람문화는 어떤 차이를 지니는지 살펴본다. 이에 있어서 본고는, 영화연구의 경우 영화를 둘러싼 맥락을 종합적으로 검토해 전체사를 지향해야 한다는 클링어(Barbara Klinger)의 주장처럼, 극장과 가정 사이에 놓인 도시 공간, 산업적공간과 질적 향상을 위한 비디오 문화운동의 공간 그리고 사적공간인 가정에서의 관람 공간 등 서로 이질적인 공간들을 다양한 층위에서 살피면서 비디오관람을 둘러싼 맥락들을 종합적으로 검토함으로써 전체사를 지향한다. 이를 통해 ‘비디오를 통한 관람 공간의 재편’의 전체사는 결국 복잡하고 다양화된 미디어 환경 속에서 빠르게 변화하며 진행 중인 현재의 영화관람을 이해하기 위한 과거의 재사유의 하나가 될 것을 목표로 한다. Films that have not escape the cradle of theaters for long periods were finally deviated from the public spaces and entered into private spaces such as home after its onset. However, home-oriented films now return to urban public spaces via mediums such as mobile phones along with the development of media and its environmental change. This implies that films are developed by the continuous spatial reformation. Therefore, films are needed to be understood in the context of space, not simply in terms of chronology. The development of films can be understood that video, which is typically considered as “old-fashioned” media, is located at a starting point as the media that encouraged the spatial reformation of watching movie in terms of the relation with space. Therefore, this paper will examine how urban public spaces were changed as video was domesticated into private spaces, how video industry reformed film-producing spaces, and a difference in two distinct inspection culture between theaters and private spaces. As Barbara Klinger argued that the film study should be oriented for the total history by examining context surrounding films comprehensively, this paper aims for the total history by investigating distinct spaces such as industry spaces including urban spaces in-between theaters and homes, video market, and film production, film-viewing spaces at home as private spaces from multiple layers and by surveying various contexts surrounding video watching comprehensively. Thus, the total history of “reformation of viewing spaces through video” aims for one of historical reconsiderations to understand the current movie watching rapidly chaging in complicated and diversified media environments.

독일 위생영화를 통해 본 조선 콜레라위생영화(1920)와 천연두위생영화(1922)의 특징과 한계

김금동(Kim, Keum Dong) 한국영화학회 2013 영화연구 Vol.0 No.55