1950년대 범죄멜로드라마와 고백 장치 연구

오영숙(Oh Young Sook) 한국영화학회 2005 영화연구 Vol.0 No.25

This paper offers an analysis of 1950's crime melodrama films as it appears in the film texts of 〈The Confess(Ae-won-ui gobaeg)〉(1957) and 〈The College Woman's Confess(Eoneu yeodaesaeng-ui gobaeg)〉(1958). The motivation for this analysis is to try to define the form of the expression of the individual and the status of individuality as modern subjectivity constituted in the work of 1950's Korean Films. The ultimate objective is a finer understanding of the nature of the modernity of Korean film. What this paper tries to problematise through the theme of crime and criminal is the confession as a particular narrative apparatus which enabled the self-expression and the ways in which that apparatus has been expressed in films. We have tried to define the narrative of confession as it appears in the works of two films. Ultimately, by defining the formation and the mode of self expression and the socio-cultural contexts which enabled these forms of self expression as the main subject of film making, we tried to explain the formal characteristics and historical meaning of 1950's Korea's film The form and style of the 1950's Korean film seen in several crime melodramas leads from enlightenment thought to the discovery of the individual. What was important for 1950's films was not the attainment of some kind of communal connection and union through the elimination of individuality but the individual desire or emotion. Likewise 1950's crime melodrama can be distinguished from the films later than 1970's films. This is particularly apparent in the films which is based on the elimination of voices of the main characters. Through an analysis of the narrative and the style of 1950's crime melodrama in these two films, this papet discusses the internal motivations and necessities toward the discovery of modern subjectivity. This paper thus represents an attempt to theorise the essence of the forces which have driven Korea's modern film and, by doing so, to understand and explain mote precisely the representative force of that film which has for too long been entangled in definitions of the trends such as enlightenment, realism, and modernism.

아빠와 소녀

오영숙(OH Young Sook) 한국영화학회 2009 영화연구 Vol.0 No.42

This article examines the aspects and contexts of the Korean film in the 1970s. The motivation for this work is to try to define the meaning and forms of the typical representation constituted in Korean films, and to understand the function of Korean cinema in 1970s. 'Girl' and 'father' were perhaps popular and widespread representation at that time, and the most important symbol to take notice of. Important to the concept of 'father-girl' romance is not just feeling and emotion which people had in that era but the way of which cinema confronted to that society. Feelings such as anxiety, vulnerability, and fright that the film creat are major part of films in 1970s Korea. Control-vulnerability is a central dialectic of that film closely related to 'father-girl romance'. The representation of 'girl' means purity against snobbism, and difficulty of growth. The failure of relationship between girl and father works primarily to evoke such feelings as sense of guilt. They gave 1970's spectators pleasure by making them see and console themselves. Its purpose is deepen our understanding of 1970s Korean film by placing them within the context of social culture and exploring the public's interests and cultural values expressed within the film. I want to ask the way of which the films really did represent social interests and culture, and explore how the cinema could foster reflection on modernization through its performance of new narrative forms of film.

인삼 Saponin이 고온처리된 효모의 생육에 미치는 영향 - 열처리된 효모의 증식회복속도에 미치는 촉진효과 -

오영숙(Young-Sook Oh),김용수(Yong-Su Kim),이갑랑(Kap-Rang Lee) 한국식품영양과학회 1990 한국식품영양과학회지 Vol.19 No.5

인삼의 약효성분인 saponin이 내염성효모 Saccharomyces rouxii의 생육에 미치는 영향 및 고온 처리로 stress를 준 효모의 증식회복속도에 미치는 영향을 조사하여 본 결과 다음과 같은 결론을 얻을 수 있었다. 인삼saponin을 10^(-3)%되게 첨가했을 경우 무첨가구에 비해 S. rouxii의 생육을 55%정도로 가장 크게 촉진시킬 수 있었으며 또한 인삼saponin 첨가 경우 S. rouxii의 증식곡선은 무첨가구에 비해 그 log phase의 진입속도가 훨씬 빨랐으며, 가열처리된 S. rouxii의 증식회복속도도 인삼saponin 10^(-3)%첨가했을 경우 70% 정도나 빨랐다. 이로 미루어보아 인삼saponin은 heat shock받은 효모의 생육회복속도를 크게 증가시킬 수 있는 항stress효과가 있음을 확인 할 수 있었다. It was attempted in this experiment to observe the effect of ginseng saponin on the growth and recovery rate of Saccharomyces rouxii which was shocked by heat-stress. The growth of S. rouxii was found most active when the saponin concentration in the malt extract broth was 10^(-3)%. And, the growth rate of S. rouxii grown. on medium containing 10^(-3)% ginseng saponin was faster than that of the yeast grown on medium without saponin from the early log phase of the yeast. The growth recovery rate of S. rouxii which was heat-shocked by 80℃ - 30 minites, was accelerated in the medium added ginseng saponin.

1960년대 스릴러 영화의 양상과 현실인식

오영숙(Oh Young Sook) 한국영화학회 2007 영화연구 Vol.0 No.33

This article examines the aspects and significance of the thriller film in the 1960s, Korea. The thriller was perhaps popular and widespread movie genre at that time, and the most difficult to define. After the military coup on 16 May 1961, there was inevitably a profound sense of an ending and a being awakened from illusion as such development of democracy represented by April Revolution of 1960. Important to the concept of thriller is not just an excess of feelings but the question of which feelings are emphasized. The thriller works primarily to evoke such feelings as suspense, escape, despair. They gave 1960's spectators pleasure by making them uncomfortable. Anxiety, vulnerability, and fright are all part of the thriller. The overload and combination and ambivalence of feelings that the thriller creats, with a resultant lack of stability, produce a strong sensation of vulnerability. The thriller creates, in both hero and spectator, a strong sense of uncertainty and pessimism. This work is to try to define the forms of existence of psychopath and villian characterized in thriller films, and to understand the nature of inner device of monologue. Its purpose is deepen our understanding of genre film by placing them within the context of social culture and exploring the public's interests and cultural values expressed within the film. I want to ask whether the thriller films really did represent social interests and culture, and explore how the cinema could foster reflection on modernization through its performance of new forms of genre film. The cinema could foster reflection on modernization through its performance of inner forms of genre film. At the same time, these films also registered the dangers and ambivalence inherent in modernity through their dramatization of violence and fear.

조선 후기 유학자들의 “천원술(天元術)”: 『산학원본(算學原本)』과 『산학본원(算學本源)』을 중심으로

오영숙 ( Oh Young Sook ) 한국과학사학회 2019 한국과학사학회지 Vol.41 No.3

It is well-known to historians of mathematics in East Asia that the tianyuan shu 天元術 was one of the distinct features of mathematics in the late Joseon period. Joseon Confucian scholars’ studies on the tianyuan shu have yet to be analyzed. From the late seventeenth to the early eighteenth century, there were two extant mathematical works by Korean Confucian scholars concerning the tianyuan shu: Sanhak wonbon 算學原本 by Bak Yul (朴繘, 1621-1668) and Sanhak bonwon 算學本源 by Hwang Yun-seok (黃胤錫, 1729-1791). By analyzing these two works, this paper examines the characteristics of their views and interpretations of the tianyuan shu. The Confucian authors extended the usage of the tianyuan shu into other mathematical fields to which it had never been applied before. They also preferred to use mathematical tables that showed the relationships between the numbers popping up during the performance of the method or the visual diagrams that explained the algorithms.

특집2 : 숙종대의 과학과 실학 ; 조선후기 산학(算學)의 일면(一面): 최석정(崔錫鼎)의 산(算) "읽기"

오영숙 ( Young Sook Oh ) 한국실학학회 2012 한국실학연구 Vol.0 No.24

17세기 후반에서 18세기 초반은 조선의 다른 어느 때보다 ``중인`` 算員들과 유학자들의 算書가 동시에 많이 저술된 시기이었다. 이 두 집단은 서로를 의식하면서 다른 스타일의 산서들을 저술했다. 산원들은 算學지식의 내용면에서 전혀 필요가 없을 법한 별도의 장에 본인 스스로를 등장시켜 유학자들이나 중국의 천문학자들을 상대로 유려한 算術지식을 과시하는 부분을 첨부했다. 반면 유학자 중 한 명이었던 崔錫鼎은 『九數略』에서 당시 산원들의 계산방법을 노골적으로 비난함과 동시에 산원들의 산서에서는 전혀 보이지 않던, 갓 수입된 서양 算法들을 인용하여 넓고 빠른 지식의 흡수력을 암시함으로써 산원들의 산서와의 차별성을 강조했다. 나아가 인용된 서양 산법들을 효과적으로 비난함으로써 서양 산법을 수록한 산서들과의 차별성까지 확보했다. 그는 산원들의 산법과 서양 산법을 비난하는 과정에서 그 근거로 ``道``나``理``, ``義``의 결핍을 지적했다. 이런 성리학 용어들의 도입은 유학자의 취향에 어울리도록 산학을 재단하는 일이기도 했다. 그러나 성리학 용어들이 산학지식 자체, 즉 算法에 사용되기 위해서는 좀더 정교한 과정이 필요했다. 그는 다음의 두 가지 과정을 통해 산법에 ``道``, ``義``, 그리고 ``理``가 있을 수 있다고주장했다. 첫째, 그는 산목계산에서 산목들이 놓여지는 象과 그 象의 움직임을 인식한 후, 이 움직임이 단순한 숫자들 이외에 다른 고전에 등장하는 이나 텍스트와 같은 의미를 지닌 것으로 읽힐 수 있다고 주장했다. 둘째, 이후 그는 성리학의 중요한 용어인 ``道``와 ``理``, ``義``란 용어를 사용하여 오직 위의 첫째 조건을 만족하는 산목계산과정일 경우에만 이런 ``道``나 ``理``, ``義``란 것을 가질 수 있다고 강조했다. 첫째 과정은 산목을 숫자처럼 인식하여 계산``한`` 것이기도 하지만 동시에 그 계산과정을 다른 의미를 지닌 象으로 ``읽어낸`` 것이라고도 할 수 있다는 점에서 산목계산에 대한 인식의 전환이었으며, 둘째 과정은 성리학 용어와 그것이 내포한 개념들을 이용하여 여러 산법들을 평가, 비난함으로써 자신의 산학 지식은 유학자의 취향에는 어울리지만 산원들이나 서양 산법과는 다른 것임을 현저하게 드러나도록 강조했던 것이다. From the late Seventeenth- to the early Eighteenth-Century in Choson, the high frequency of the authorship of the mathematical texts had been witnessed. The authors were divided into two groups: the so-called ``middlemen`` mathematical officials and the literati. The discrepancy of the writing styles of these two groups were also sensed. In the mathematical official`s texts, one whole section is assigned to the carefully crafted stage for manifestation of the proficiency of the authors`s mathematical skill. Ch`oe Sok-chong`s 崔錫鼎Summary of Nine Numbers( Kusuryak九數略), written against this backdrop, can be analyzed as an example of the literati`s texts. In this text, he tried to differentiate his text from the mathematical official`s by outspokenly criticizing their calculating methods and by adding a bunch of new mathematical methods from the Western sources as a sign of his speedy and wide knowledge. Not ending up in adding the Western methods, however, he went so far as to criticize this new methods with the intention of arguing the superiority of his mathematical knowledge. In his criticisms levelled at methods both of the mathematical official`s and from the Western sources, he provided the lack of the concepts of Songlihak 性理學(Study of Human and Nature and Principle) such as `` dao道,`` `` li理,`` and `` yi義,`` as the reason of his criticisms. And he made his mathematical text more affordable to the literati`s sensibility by using these terms. To make the import of these terms into the calculating methods succeed, he made a two-step strategy: first, he perceived the counting rod calculation as the process of images for their sake, not just as the manipulation of numbers for searching for the results, and found the equivalence of the process of images with some quotes of the Sages, from the Classics; second, he argued that the counting rod calculation itself has `` dao,`` `` li,`` or `` yi`` only if he could find the equivalence in the first step. The first step is about ``reading`` the calculation in the sense that the calculation is seen as images and understood as containers of the different meaning beyond just numbers. The second step is about ``evaluating`` the various mathematical methods in relation to the already well-established moral terms of Songlihak. Thus he constructed the new mathematical text whose authorship was very distinct from any other mathematical texts at that time.

한일수교와 일본표상 -1960년대 전반기의 한국영화와 영화검열-

오영숙 ( Young Sook Oh ) 한양대학교 현대영화연구소 2010 현대영화연구 Vol.6 No.2

This paper seeks to closely examine the characteristics and contexts of the Park Jung-Hee regime`s cultural politics and Korean Cinema in the first half of the 1960s by focusing on the truth behind censorship and cinematic phenomenon during a specific era before and after the establishment of amity between Korea and Japan. Korea-Japan amity was meant not only to develop Korea-Japan relations but an issue of legitimizing the Park Jung-Hee regime and as a critical plan intimately correlated to establishing the nation`s future. The Park Jung-Hee regime actively pursued a Korea-Japan summit for the purpose of economic development and concluded a Korea-Japan framework agreement in 1965, establishing amity and normalizing diplomatic relations. However, the majority of citizens found the government`s consistent humiliating and modest posture throughout the process of establishing this agreement problematic and began to express intense infuriation. The opposition struggle of the Korea-Japan agreement culminated with a student protest on June 3, 1964 and went on to expand further than mere anti-Japanese sentiment to rage at the Park Jung-Hee administration`s betrayal of nationalism and democracy, an administration who had previously committed publicly to uphold `national democracy`. Meanwhile, there was the rise of Japanese culture in Korean society which began in the early 1960s. In the 1950s, the Rhee Seung-man administration cried out for a `clean sweep of Japanese ways` and suspended all exchanges between Korea and Japan. However, subsequent to the April revolution and the seizure of power by the Democratic Party, humanitarian exchange along with cultural exchanges between Korean and Japan were generously permitted. As a result of print materials, music, and movies, the domain of popular culture and the so-called `Japanese rage` began to stir. Looking ahead at the point of signing the Korea-Japan agreement, the discussion enters a more serious level than that of Japanese films, Korean films and their exchanges. The movie industry began to accelerate the production and distribution of Japanese cultural goods. The Korean movie industry conveyed three different postures regarding Japan around the same time. 1) Adhering to the equation of `Japanese ways = box office hit`, various methods were utilized to attract Japan unto the screen 2) Adapting to the opposing atmosphere of the Korea-Japan agreement and appealing to the anti-Japanese sentiment of citizens by advocating nationalism. 3) Providing imaginary reconciliation via the narrative and spectacle of attaches between Korean and Japanese(romance, family relationship) in which beautiful and good Japanese woman sacrifice herself for Korean lover or persons. Although these three tendencies seem to be contrary to each other, these cinema was addressing the dual identity of Korean people as colonial subject. They reflect public need to solve the problem imaginarily by socially symbolic act such as cinema and cultural exchange. These cultural efforts were made vigorously to seek new relationship with Japan but reached a deadlock by the Park Jung-Hee regime`s cultural politics and cinema censorship. In the first half of 1960s, cinema censorship and policies of cinemas in regard to Korea-Japan relations were oppressive but more or less unprincipled, temporary or easily fluctuating. Ultimately, one government`s cultural policies acted as the leading cause to the promotion of malformations of Korea-Japan relations. Fixation on anti-communism became linked to the fear of cultural exchanges between Korea and Japan, the inconsistencies of the censorship policy extinguished the trust cultural artists had in the government and in tandem, disheartened the volition of Korea-Japan cultural exchanges. Furthermore, the anti-Japanese sentiment maintained by citizens was utilized as a foreign alibi to prop up the Park Jung-Hee regime`s inability to hold a liberal posture towards the Korea-Japan cultural exchanges. Such cultural policies of the Park Jung-Hee regime ultimately became the cause of discord between economic, political, and cultural levels of the Korea-Japan relations during the Cold War period, which more or less languished in a state of disproportionate deformity.

코미디 영화의 세 가지 존재 방식

오영숙(Oh Young Sook) 한국영화학회 2005 영화연구 Vol.0 No.26

This study examines the comedy films from 1956 to 1961 and makes a comparative analysis of some modes of comedy films. The motivation for this comparative analysis is to try to define the meanings and the functions of comedy constituted in post-war modernization era. The ultimate objective is a finer understanding of the nature of the modernity of Korean cinema. The popularity of the comedy is unique in post-war era. Post-war comedy films are above all based on a reality that is limited both spatially and temporally. That complicity may focus on. It is possible to establish a specific generic form within the context of a cultural history. Through an analysis of form of postwar comedy film, it appears in three formal characteristics through which laugh is embodied.: 1) a form of comedy of manners 2) a form of conversation or controversy 3) a form fo satire. Like any other comedy, post-war Korean comedy is an inherently ambivalent one. Post-war comedy films are both subersive and conservative, both offensive and inoffensive, both serious and ridiculous. Comedy is a good example of the various ways in which this ambivalence does and does not become represented within a specific culture. Our aim in this paper is to examine comedy film as an 'in-between space'. We do not think of comedy film as maintaining or subverting certain culturally and nationally specific values, but rather take it as an imaginary space in relation to which people in post-war Korea try to make sense of their cultural ambivalence. In general, the function of post-war film may in expert maintenenance of the ambivalence of this culturally and historically distinctive symbiosis of conservatism and subversion.

시대를 상상하는 개인

오영숙 ( Young Sook Oh ) 한양대학교 현대영화연구소 2006 현대영화연구 Vol.2 No.1

‘한국형 다문화주의’의 무너지는 꿈

허오영숙(Young Sook Heo-Oh) 도서출판여이연 2009 여성이론 Vol.- No.21