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      • 김정일의 『영화예술론』과 북한영화 - 1973년부터 1980년까지 제작된 북한영화를 중심으로 -

        김윤지 ( Youn Jee Kim ) 한양대학교 대학원 논문집(영화학과) 2006 시네마 Vol.2 No.-

        In North Korea, the cinema is method to teach the masses. Especially, Kim Il-Sung and Kim Jong-Il thought that the cinema was produced in a breeze. Because the cinema moved the majority of the masses to sympathize with the emotions. In 1970s, the Kim administration was stabilized therefore Kim Jong-Il made many concrete policies about the cinema. That is to say, the North Korean cinema was formalized by Kim Jong-Il`s instruction during that time. In 1973, Kim Jong-Il published 『On the Art of Cinema』, The book was a 332-page treatise on how to act, film, direct, edit and score a movie. Aimed at North Koreans, the book had its share of stupefying ideas but also some legitimate tenets and some beliefs that might be shared by a film critic. By constitution, North korea`s all movies was influenced by the book hence understanding the book was important. It made comprehending North Korean cinema possible. In 1970s, the juche ideology was organized well and constitutional law was made public at least. So Kim Jong-Il started effort for acquiring a position of successor earnestly. He developed the concept of the `Revolutionary View of the Leader` into a more theoretical and systemized form by presenting the `Theory of the Immortal(Socio)-Political Body`. It says the Suryong. Moreover he completed Kim Il Sungism. According to the book, Kim Jong-Il claimed that all movies in North Korea was produced by juche ideology inclusive of Suryong-non and Kim Il Sungism. Then the movies on the basis of the book had a few keynotes. There were the same subjects repeatedly, standardization, narration, excessive expressions. These problems brought on deterioration in quality of North Korean cinema.

      • 일반논문 : 도구화된 타자, 기지촌 여성과 한국영화 -한국전쟁 이후 기지촌 여성을 다룬 영화를 중심으로-

        김윤지 ( Youn Jee Kim ) 한국영화교육학회 2013 영화교육연구 Vol.15 No.-

        This paper aims to restore the figure of the ``forgotten`` Korean military prostitutes. What Korean films visualized the military prostitures may be different from they were really. Presumably, the Korean society would have distorted point. In doing so, it will show the way a society understands a group of people or a moment of history is corresponding to the way masses of the society consume films representing the group or the story. This paper examines eight movies among the films, directly dealing with Korean military prostitures, of the period from, the mid 1950 to the 2000s. First, in these films, as this paper shows, were visualized a variety of the military prostitutes, from a mother responsible for the family and sinful women, to women symbolizing the national tragedy. Second, this paper explores the historical background in which such various characteristics may have been socially made. Third, reading these films, it attempts to show the military prostitutes as one representing extreme poverty, surviving, antipathy to the capital and foreign civilizations, and the wounded national identity.

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