문예봉, 발명된 ‘국민 여배우’의 계보학

주창규(Ju Chang Kyu) 한국영화학회 2010 영화연구 Vol.0 No.46

This paper attempts to identify the reputation of the Mun Yie-Bong, 'the national actress.' Using the genalogical analysis(Michele Foucault) for this project, I analyse the discourse of the female actress, the context of Chosun cinema industry, ctritic, and sepctatorship on the Colonial Chosun from 1920s to 1940s. Consequently this paper suggests below. First, as the 'new subject' 'silver screen actress' was the public women which allowed to 'social mobility' for 1920s early. So she were different to 'the traditional woman,' the modem 'new woman,' and the 'theater actress.' Second, 'power technology' attempted to discipline the 'silver screen actress' from 'new subject to 'docile body' by the discouse porduction of the 'silver screen actress,' which is consists of 'surveillance technoloy,' 'reference technology,' and 'confess technology.' Third, the priviliged star image of Moo Yie-Bong as the 'national screen acress' was the result and the product of the successful internalization the 'power technolgy,' which is intended to discipline the 'silver screen actress' as the 'new subject.' Fourth, adding on the the successful internalization the 'power technolgy,' the priviliged star image of Mun Yie-Bong as the 'national screen acress' was overdetermined by the context of the 'Chosun Cinema institution' which is consists of film industry, critic, and spectator for 1930s. In 〈Wanderer(Nageune)〉(1937, Lee Kyu-Hwan), the priviliged star image of Mun Yie-Bong as the 'national screen acress' was comlpeted to silence and desexual female close up shot by 'Kuleshov effect of the silence,' that is the trade mark of Mun Yie-Bong as the 'national screen acress.' Fifth, for Japanese imperialism the priviliged star linage of Mun Yie-Bong as the 'national screen acress' was mobilized and appropriated at the 'transitional pro-Japanese cinema(1940~l943) (for example, 〈Volunteer (Ji-wonbyeong)>(1941, An Seok-Young) and 〈Straits of Joseon (Joseonhaehyeob)>(l943, Park Ki-Chae)). But Japanese imperialism was also challenged by the appropriation of the priviliged star linage of Mun Yie-Bong as the 'national screen acress.' In sum, while the subjectification of Mun Yie-Bong as the 'national screen acress' was the object of 'power technology,' the performativity of the objectification was cause to the failure of the power regime.

충무로 로드무비 장르 연구

주창규(Ju Chang Kyu) 한국영화학회 2007 영화연구 Vol.0 No.34

This paper attempts to identify the aesthestic and historicity of Chungmuro road movie genre, which is consisted by two men and one woman's traveling narrative and image through the analysis of The Road to Sampo(1975, Lee Man-Hee), Declaration of Idiot(1983, Lee Jang-Ho), and Whale Hunting(1984, Bae Chang-Ho). For this project, firstly, this paper understands the abject sense and character of that genre as the abjection(Julia Kristeva) of Korean military dictatorship. So we can position the historicity of that genre as the abject of dictatorship, which is not subject nor object. Secondly, this paper analyses three text's narrative and image through 'family romance'(Sigmund Freud) and 'landscape'(Karatani Kojin). Consesquently, this paper suggests Chungmuro road movie genre's historicity as disillusion and revenge against dictatorship state, and transnational desire, that is differented from exploring new national identity of Hollywood road movie genre.

버나큘러 모더니즘의 스타로서 무성영화 변사의 변형에 대한 연구

주창규(Ju Chang Kyu) 한국영화학회 2007 영화연구 Vol.0 No.32

In this paper, I attempt to identify the historicity of Byeonsa(the live narrator of silent cinema in colonial Chosun) as the star of Vernacular Modernism(Miraim Hansen). Generally, Byeonsa was criticized as premodern figure of Chosun film industry and film art by native film critics, and was criticized as impurities of cinema by native scholar. On the other hand, it was essentializely misrecognized as modernism(the other of classical cinema) by west scholar(Noel Burch). Alternatively, this paper deals with the historical transformation of 'Byeonsa as institution' from the object of worship to the the object of a scandal, and expalins it by competing and resisting the sound of vernacular space against the hegemonic modem temporality in colonial Chosun, according to four contexts(1. Film aesthetic which is relate to classical Hollywood cinema. 2. Censorship for colonial domination of Japan. 3. The undevelopment of film industry. 4. Vernacula spectatorship which were both early and classical cinema asynchronously). Consequently, this paper suggests the resoration of th subaltern voice and vernacular modernism through the sound of the audience and Byeonsa in colonial public sphere and silent cinema.

무성영화 〈아리랑〉의 탈식민성에 대한 접근

주창규(Ju Chang-kyu) 한국학중앙연구원 2007 한국학 Vol.30 No.1

'근대의 선정주의'로서 신파극의 변형과 연쇄극의 출현에 대한 연구

주창규(Ju, Chang Kyu) 한국영화학회 2012 영화연구 Vol.0 No.51

In this paper I discuss the emergence and aethestic of the Yeonsae drama in the context of the transformation of the Sinpa drama and the sensationalism of the modern. Consequently I propose the revised understanding of the Yeonsae drama below. First, it is time to appearing and contesting of various sensationalisms of the modern in 1910s, that is considered to the peroiod of the colonial domination of the military force by Japan imperialism. Second, Yeonsae drama was not the imitation of Rensgeki(Japan), but the result of the situation of the Sinpa drama’s industrial collape, the competition of Umigwan and Danseongsa around the initiative of the box office, and the passion and the effort of Chosun filmmaker(Park Seungpil and Kim Dosan). Third, Yeonsae drama is not the “metamorphsis of theater”(Yun Baiknam), but the vernacular modernism, which was the formation by new experiment of Sinpa drama and was the result of reception of American serial film’s sensationalism. That is the experience of the new sense by the modern. Fourth, that Yeonsae drama is the origin of Korean cinema is not attributed to the appearance of Korean people in silver screen, but the refraction and the amplification of the sensationalism by the Yeonsae drama.

‘이행적 친일영화’(1940~1943)로서 〈집 없는 천사〉의 이중 의식에 대한 연구

주창규(Ju Chang Kyu) 한국영화학회 2010 영화연구 Vol.0 No.43

The discussion about Angel without a House(1941, Choi In-kyu) was polorized as 'national realism' and 'pro-Japanese cinema.' In this paper, I attempt to identify the feature and pecularity of that film and analysing the context of the colonial culture industry in fascsim, the form of the text, and the spectatorship, locating various dualities of that film which is consisted of 'propaganda/entertainment,' 'nationalization/industralization,' 'vouyerism/exhibitionism,' and 'social Darwinism/Lamarkianism.' Consequently this paper suggests below. First, in Angel without a House the feature of the 'pro-Japanese' is not satisfied by Japan colonial administer, because that is driven by the desire for industralization, not the ideology for Japan imperialism. So transitional Pro-Japanese Cinema (1940~1943) is the dynamic product which hope to consume the rule of the 'New Regime.' Second, the realism of the Angel without a House is attributed to desire exhibitionism by Chosun people. But that exhibitionism can not invite the vouyerism of the State in this film, by the peculiar form and 'aestheticized politics' of the colonial fascism. Third, in this film the oscilliation between 'social Darwinism' and 'Lamarkianism' is attributed to recensorship by Japan colonial administer.

‘한국영화 르네상스’(1997~2006)의 동역학에 대한 연구

주창규(Ju Chang Kyu) 한국영화학회 2011 영화연구 Vol.0 No.50

In this paper I attemt to identify the dynamic of the Korean cinema renaissance(1997~2006). Firstly, it is important to rocognize the Korean cinema renaissance as the complexive cultural phenomenon which is consisted and overdetermined by ‘the industrial renaissance’ and ‘the aesthetic renaissance’. Secondly, I propose the periodization of the contemporary Korean cinema history, which are three phaes that are the period of the depression(1970s~1980s early), the period of the modernization(1980s middle ~ 1990s middle), and the period of the advanced modernizstion(1997~2006). And I analyze the the complexive cultural phenomenon of the Korean cinema renaissance as the dislocation of ‘the industrial renaissance’ and ‘the aesthetic renaissance’. Thirdly, I analze the dynamic of ‘the industrial renaissance’ as the combination of the the high modernism and the financial capital in the film industry. Fourthly, I analyze the dynamic of the the aesthetic renaissance as the discursive transcoding(Michael Ryan) of the late democracy(Dipesh Chackrabarty) in contemporary Korean society. The charateristric of the aesthetic in Korean cinema renaissance are the radical experiment of the film form, the desire which deconstruct the authority as the threating of the power, the proliferation of the rebellious film genre, the creative appropriation of film genre that is the deconstructive rewriting. Those are the transcoding the discursive formation of the Korean society in late democracy. Consequenty the Korean cinem renaissance is the various effect of the constellation, that is driven by the collision between the industrial renaissnce as the finanscape and the aesthetic renaissance as the ideoscape in Korean society.

영화 〈무정〉의 각색에 나타난 박기채의 작가성 연구

주창규(Ju Chang Kyu) 한국영화학회 2011 영화연구 Vol.0 No.48

In this paper, I attemt to identify Park Ki-chae’s authorship in the adaptation of Heartlessness(Mu-jeong). Firstly, I compare and analyse the articulating of the plot between Lee kwang-Su’s original novel Heartlessness (Mu-jeong)(1918) and Park Ki-Chae’s scenario Heartlessness(Mu-jeong) (1938). Secondly, I analyse the Park’s authorship as the overdetermined effect of three phase, which are Park’s individual personality as the film director, the specialization and dividing of Chosun cinema industry, and the emergent female reader-spectatorsip as the consumer-suject. Consequently, this paper suggests below. First, there are six charateristics in the adatation from original novel to scenario, that are ‘the reduction of the quantity’, ‘the reduction of the quantity with specific intention’, ‘the elimination of the enlightment,’ ‘the reduction and transformation of the popularity,’ ‘the enlargement and transformation of the passing-time’, and ‘the replacement from the melodramatic mode to moderated style.’ The mode of the adatation from original novel to scenario is the the feminization of Heartlessness(Mu-jeong)(1918). Second, the feminization of Heartlessness(Mu-jeong) is attributed to Park’s individulal personality that is the combination of Park’s spirit of author and his ability of welladdressing to female audience. Three, the feminization of Heartlessness (Mu-jeong) is also attributed to the specialization and dividing of Chosun cinema industry, developing woman’s film genre by studio production system. Finally, the adapion of Heartlessness(Mu-jeong) is the attempting to articulate the emergent female reader-spectatorship and ’sexual modernism’ in colonial Chosun.

포스트-사회주의 중국의 통치 기술로서 상하이영화박물관의 사회적 기능에 대한 연구

조희문(Hee-Moon Cho),주창규(Chang-Kyu Ju) 한국엔터테인먼트산업학회 2013 한국엔터테인먼트산업학회논문지 Vol.7 No.4

영화, 테마파크, 게임처럼 재미있는 공간이 될 수 있다는 것을 일깨워 주었다는 의미에서 상하이영화박물관은 미래의 박물관이 지향해야할 한 방향을 제시하고 있다. 본 논문은 당대 중국에서 이 박물관이 수행하는 사회적 기능을 분석하고 있다. 이 같은 목적을 위해서 상하이영화박물관의 시각적 정체성과 전시-내러티브를 분석하고 그것을 포스트-사회주의 중국이라는 역사 속에서 맥락화시켜 보았다. 그리하여 다음과 같은 결론에 이르고 있다. 첫째 상하이영화박물관의 시각적 정체성은 관람객을 영화의 세계로 초대하고, 전시-내러티브는 죽어있던 과거에 새로운 생명력을 부여하여 과거와 현재, 판타지와 현실, 그리고 역사와 산업을 부단히 소통시킴으로써 과거 상하이 영화의 영광을 약속된 미래로서 재연하려고 시도한다. 둘째 이와 같은 박물관의 시각적 정체성과 전시-내러티브는 사회주의의 깃발을 내리지 않으면서도 자본주의의 길을 가고 있는 포스트-사회주의 중국의 혼란을 극복하기 위하여 자본주의와 관련된 기억을 생성하는 ‘상상된 향수’를 주조하는 과정이다. 셋째, 금기시된 과거를 바라보는 동시에 감시하는, 파노라마-판옵티콘의 시각 기술을 통해 위험한 과거를 안전하게 소비함으로써 상하이영화박물관은 사회주의 시기의 인민을 포스트-사회주의 시기의 국민으로 재발명하는 사회적 기능을 수행하고 있다. Shanghai Film Museum is the most successive and advenced museum, which is mixed with film, theme park and game. In this context, it has the figure of future museum. In this paper, we try to identify the social function of Shanghai Film Museum in post-socialism China. For this project, we analayse the visual identity and display-narrative, and situate the textuality in the context of the post-socialism China. Consequently, In Shanghai Film Museum, the visual identity invites the audience to the the world of film. And display-narrative of this museum tries to recuperate the honor and glory of the Shnaghai film 1920~30s, through the linkage of the past and present, fantage and reality, and history and industry. But the visual identity and display-narrative of this museum suggest "the imagined nostalgia" and "panorama-panopticon" of visual technology which purpose to transform from the people to nation. And the social function of this museum display and look out the disquiet past of the Shanghai modern and cinema 1920~30s. That is the government policy and technology of the post-socialism China.

한류의 역사적 성격과 동아시아의 서발터니티에 대한 시론 : 신자유주의적 세계화를 역류(逆流)하는 <대장금>의 사례분석

주창규 부산대학교 한국민족문화연구소 2006 한국민족문화 Vol.28 No.-

This paper deals with the historical specificity of Hanryu and discuss the possibility of reading Daejangguem which is female alternative narrative, through the Eat Asian modernities and the disjunctive sphere of the neoliberal globalization. For this project, firstly I approach the hybridity of Hanryu, criticizing the conventional thought of the regional modernities that is both the radiatonal model and hierarching model of the moderity, and instead alternatively proposing the recognition the particular historical character of the east asian modernities that is also the hybrid mode of the universal modernity, the east asian postcolonial thought, and the shift to the thought of comparison and refernce with the another regional modernities. So we can understand the historical specificity of east asian modernities as 'excess of the modern', not failure of the modern. Secondly, this paper try to theorize the historicizing of Hanryu that constructs the alternative modern subject, considering the formation of the neoliberal globalization, although it is the deconstructive process of the modern subject. Thirdly, I read the textually of Daejangguem as the female alternative narrative, that is the similarity with RPG digital storytelling, the healing process of the sexual trauma in the bourjoire public sphere, the oriental temporalirity of Hwan, and the shamanistic imagination of the untraditional tradtion in East Asia.