지구화 속에서 기로에 선 한국영화의 정체성

전평국(Chun Pyung-Kuk) 한국영화학회 2002 영화연구 Vol.- No.20

Meanwhile, world films has been studied mainly by the western, that is, euro-american school. They described the non-western films, having it to themselves, from the points of comparative superiority and such dichotomy centered on the western as western/non-western, classical/modernism, commercial/art, self/others, modern/premodern, etc. Recently, however, post-colonial film, including national cinema, has been being studied that the world films be newly structured and conceptualized from the neutral point of view. In the stream of whole-globalization, and in the culture of creolization or hybridization in which the concept and the border of state-nation is getting more and more obscure, the identity of national cinema needs multi-layered approach with industry, esthetics, politics, economics, culture, and the likes, but which Is not easy to find the universality. So, it is generally agreed that the identity of national films should be structured and called in discourse and changeable manner in the relation with hollywood films which dominate and lead the world films, having the biggest impact on the survival of national cinemas, rather than essential and substantial aspects such as the format and the style of film. From this point, the identity of korean films also would depend on the relation with hollywood films and the popularity. Fortunately, in the first half of the year, korean films attracted viewers up to 47%, showing a boom dose to that of us films(49.7%). But, the popularity of korean films makes too much of commercial interest but is short of ambivalence such as progressive, material desire, and better quality of life. Thus, in relation to genre, viewers, distribution, market, and discourse, it is too much toneless and monolithic in structural and institutional aspects, but short of diversity, having unstable frame. It needs to save diverse spectrum in translating hollywood films by articulation into dialogue not by following it word for word. Also, a practice to combine its commercial popularity and the diversity from difference, that is, creative translation is needed.

일제 강점 말기와 유신 정권 시기의 국책선전영화 비교 연구

전평국(Chun Pyung Kuk),이도균(Lee Do Kyun) 한국영화학회 2011 영화연구 Vol.0 No.50

When Korean films are reviewed, the periods of 1940’ in the Japanese ruling last era and the 1970’ in the period of Yushin resime have continuously provoked controversy and be said as the dark ages. The films in these two periods were subjected to government power so that they were deprived their freedom of creative activities by the control and censorship. These control and censorship were also intervened in the process of film production, and resulted in the publicity films of national policies. It was very natural that the film industry dominated by government power was subordinated by them. In the films produced aforesaid two periods, we can easily find out such subordination through being represented the propaganda ideology. In this thesis, I have tried to check facts of the times which were that ; to revise of the films regulation by making amendment legislation, to set up the control organization by the revision of the films regulation, and finally to produce the publicity films of national policies by the control organization. For checking the ideology of propaganda and agitation at that time, I’d like to analyze 〈Chosun Hayeop〉 directed by Park Gi Chae and 〈Jeungeun〉 directed by Lim Kwontaek which are the kind of representative for the publicity films of national policies. Though the political and social circumstances of 〈Chosun Hayeop〉 and 〈Jeungeun〉 were different, I can find out that those two movies was surely tried to spread the specific aimed national ideology. I can see that they adopted the form of melodrama so that they expected to spread the effective propaganda ideology to the public. And the feminine form, the military draft, the propaganda ideology for anti-communism that were required the national demand of that times have been reconfirmed in those movies as well. As the medium of film have a great ripple effect to the people, the government power was eagle to govern and control it as the effective instrument of propaganda and agitation by making amendment legislation, setting up the control organization. What I could find out in those two films that they were the reflection of the era, used for political instrument and propaganda char

중국영화시장에 나타난 변증법적 현상의 지형도

전평국(Chun Pyung Kuk) 한국영화학회 2010 영화연구 Vol.0 No.45

The purpose of this study is to empirically analyze potential correlations of Chinese political regime and cultural policies with Chinese films that show off remarkable growth like a miracle in China, an emerging world superpower entitled 'G2' owing to its rapid economic growth after reform and open-door policy, so that it can examine topographic profiles of Chinese films. In the modem history of China, it formed a series of political regimes based on certain ideology and created a new concept of political ideology as a part of means and policy to change Chinese social order and cultural ideology whenever new political leaders appeared. The political ideology has dialectically developed sometimes into a synergy or sometimes into antithesis depending on given historical circumstances. It means socialist market economy system based on Chinese hybrid model, a combination of capitalist and socialist ideology in pursuit of 'economy first, policy second.' In place of weakened national ideology, China builds a soft power based on its original cultural content of Confucian thoughts with a view to unite people and leap up into a major cultural power in the world. In these contexts, Chinese film policies have also advocated a recent trend of industrialization and marketization in socialist block, and have turned from its traditional centralized monopolistic distribution system toward the lower entry barrier to market through a system of consortium involving private companies or overseas capital in the aspect of production, distribution and screening. Beyond its conventional focus on ideologic and uniform national edification to propagandize ideology and politics based on a motto of "Every Art Must Serve Politics", a series of latest Chinese films have embraced amusement and commercial characteristics and have further developed into 2 major categories such as national (mainstream) film and commercial blockbuster film, so they have been a motive power of industrial development. Now, China tries to acquire better popularity through Chinese blockbuster films and build up its pie of world film industry to expand infrastructure of its film industry. In addition, it tries to produce a herd of quality film contents with competitive advantages in the interest of its domestic film development, and also tries to establish the original identity of Chinese film as a 'national cinema', setting a clear goal of mechanism to compete against Hollywood films that will aim to dominate world film market in this globalized age. It is estimated that the mainstream films or commercial blockbuster films of China are driven or influenced by the policy-level strategy of Chinese government to first foster leading blockbusters in Chinese film world and then improve general standard of Chinese films in a good line with Deng Xiaoping's advocacy of Getting Rich First (先富論). However, it is expected that the future successful implementation of this model will depend critically on wider open door for entry of overseas film players to domestic market than now; how to produce quality contents and acquire.

The Vision and Challenges of Korean Film Industry Facing Prosperity

Chun Pyung Kuk(전평국) 한국영화학회 2014 영화연구 Vol.0 No.62

본 논문은 2000년대 이후 최근까지 landmark 이라고 할 만큼 비약적으로 발전하고 있는 한국영화 산업의 현황과 동향을 면밀히 검토하고 그 호황의 원인과 특징, 그리고 문제점과 구조적 요인 등을 심층적으로 분석하여 향후 한국영화와 산업이 나아갈 방향과 개선점을 모색했다. 특히 2011년부터 시작된 가파른 상승곡선은 극장관객 수와 매출액, 1인당 평균 영화관람 편수 등 영화산업주요지표에서 새로운 기록을 경신하며 최고 절정기에 이르고 있다. 그 주요 요인을 두 가지로 요약하면 CJ, 롯데시네마 등 대기업이 투자, 배급, 상영 등 수평적 통합을 이루어 영화 시장을 활성화 시키고 시장지배력을 강화한 것과 퀼러티 있는 웰메이드의 영화로 많은 한국 관객들을 극장으로 유인하고 확보했기 때문이다. 즉 전체 한국영화 시장 성장세를 견인하는 것은 바로 한국영화에 의해서다. 문제는 이러한 현상이 과연 장기간 실질적 성장으로 이어져 영화발전으로 계속 이어질 수 있는 것인지, 아니면 거품과 같이 짧은 기간 동안 지속되었다가 어느 날 갑자기 쇠퇴할 것인지가 핵심 과제이다. 방법론으로 2000년 중반 이후 연도별 영화산업주요지표를 분석하고 그 발생요인과 현황에 대한 긍정과 부정적 측면을 분석하였다. 결론적으로 치밀한 기획과 효율적 제작시스템으로 다양한 장르의 퀄러티 있는 영화를 제작하여 잠재된 관객층을 확충하고, 세계영화시장을 석권하고 있는 미국 할리우드 메이저의 지배력에서 벗어나고 자국영화의 생존력을 높이는 전략으로 현 CJ와 롯데시네마의 대기업의 수직적 통합을 그대로 유지하면서 독과점 해소책으로 스크린 독점 등 불공정 거래에 대한 여러가지 과도하고 불합리한 사안에 대해 ‘상한’과 ‘최소’ 제한을 두어 주류에서 밀려나 있는 다양성 영화나 작가주의 영화 등과 공생하는 방안, 그리고 극장위주 매출에서 벗어나 디지털 온라인 등 부가시장을 더욱 개발하고 한계에 도달한 내수시장을 외국기업과 공동제작 등 글로벌 프로젝트로 해외수출과 해외시장을 확장하여 외연을 넓힘으로서 미래의 출구를 찾아야 한다. 이를 위해 기존의 대기업 이외에 삼성과 LG 등 새로운 대기업을 영화산업에 참여시켜 한국영화기업의 메이저의 힘과 위력을 보다 강화시키고, 소수의 독점도 방지하면서 상호 경쟁력을 통해 영화산업을 한층 고도화시켜야 한다.

현대영화 제 이론의 발달과 변천

전평국(Pyung-Kuk Chun) 한국영화학회 1999 영화연구 Vol.- No.15

Modern movie theories, nurtured by the political and ideological climates of the late 1960s Europe, blossomed academically in Europe and North America in the mid 1970s. Among the theories, subject-position theory and culturalism need special distinction. Being connected with and formed by the various academic ideas such as linguistics, philosophy, psychology, literature, etc., they are unified and integrated theories, containing several essential and cognitive hypotheses. Their central concepts are ideology, subject, and culture and they have led the movie history in the 1970s and 80s. Various small theories on movies are derived from these theories. They focus on forms and contents of movies with the localized and practical attitudes and have a special interest in the movies and their history of individual states. These small theories are characterized by (1)emphasis on experience and problems rather than on theory building itself, (2)research on movie industry, genre, technology, narrative, and women, (3)cognitive approach, and (4)synthetical methodology. More recent movie theories part company with the traditional ones of which main concepts were based on subject, representation, structure, and culture. The new ones, being in tune with the era of cyberspace and simulation, are more interested in birth, kinetics, and change. They are more plural, interpretative, and complex.

북한영화수용성과 교류방안에 대한 연구

전평국 한국영화교육학회 2000 영화교육연구 Vol.2 No.-

So far the exchanges and cooperation between the South and the North Korea have taken place intermittently in the areas of arts, sports, and other social and cultural sectors. However, the inter-Korean relations are moving into a more favorable atmosphere recently with the historic summit between the two leaders of the South and the North Korea and the following ceremonial event of family reunion. As two Koreas are entering into the new era of detente and reconciliation, the expectation and prospect also grow on the more vigorous South-North film exchanges which can be made through governments, civilian organizations, individual experts, and other channels. However, there must be neither a gloomy view nor an hasty optimism on the South-North film exchanges. There are an array of problems and things to be tackled by the South before the full activation of film exchanges i.e., revision and reform of related laws and rules, reorientation of the cold war mentality into the more receptive outlook, and understanding of the North Korean film properly. Also, South Korea should devise appropriate measures to assign proper roles to the government, civilian organizations, and individuals, respectively, in expanding cooperation with the North. As we all know, North Korea has so far utilized films as a political and ideological means for propagandizing the Party's policy and its regime as well as cultivating its people. This is because socialist countries tend to treat films as one of the important mass media with which they can persuade as well as amuse their people. In this context, North Korea maintains its own film style and method by emphasizing the social ideological impact of films. Furthermore, Kim Jong-ill, known as a film mania, has personally a strong interest in film. Therefore, the contrast between the South and the North Korea in the purpose and usage of films has been as conspicuous as the regime characters of the two countries themselves. Accordingly, South and North Korea would not easily find a way of film exchanges unless they are on the resolute process of reunification. In conclusion, increasing the film exchanges between the two Korea needs the following five premises : ① progressive attitude and policy position for the South-North exchanges and cooperation ② revision and reform of related laws and rules for inter-Korean exchanges and cooperation including the National Security Law, Copyright Law, etc. ③ establishment of an appropriate institutional framework such as the "South-North film exchanges committee" that functions as a cooperative body ④ a full-scale opening of the North Korean films in South Korea ⑤ more favorable perceptional change toward the North Korean films and retrieval of national homogeneity. Based on these premises, more concrete measures should be followed such as establishment of film exchange programs, co-production of films, installation of joint film festival, co-funding research on Korean film history, and exchanges of film archives and film studios.

최근 한국영화의 폭력성과 그 수용성에 관한 고찰

전평국 한국영화교육학회 2001 영화교육연구 Vol.3 No.-

As Korean movies about organized gangsters, such as Friends, A Moonlight Night of Shilla, A Bizarre Woman, and A Wife of Organized Gangster, were a big hit in succession, the organized gangster syndrome is spreading over our society. This kind of movies get the audience to accept a behavior of crime with no sense of guilty. Specifically, some adolescents who lack judgment are likely to take the use of violence for problem solving for granted. It's already well proven that audio-visual violent materials, including movie, give viewers stimuli and provoke violence and imitative crime. To what extent violence is described in a movie is important, but what matters more fundamentally is the context of a specific violent incident and the cultural standard and attitude of the audience. In other words, the effect and influence of violent movie depends on how viewers look at it and interpret it. The interpretation is an interaction between movie and the audience, being intervened by a lot of sociopsychological factors, like age, gender, education, and ideology. They interpret what a particular movie says about in an acceptional, defensive or transformational ways of their own. There are eight different factors that have an impact on the behavior or attitude of the audience: 1) The cause of violence: The interpretation of violence depends on its cause. The type of justified violence, such as self-defence or protection of a person whom one love, is more influential. 2) The characteristics of offender and victim a character who exercises violence in a nice way or is attractive makes viewer's imitative impulse stronger than another character who is depicted as a villain. 3) The outcome of violence: the audience become more scared when a good and attractive character falls a victim. 4) The reward and punishment of violence: Violence exerts a growing influence when it's rewarded or an offender wasn't punished. On the other hand, when an offender was punished, the learning opportunity decreases. 5) Realistic and repetitive violence: those who are placed in a situation similar to that of a violent character, or who are the type of person similar to an offender are more susceptible. And repetitive violence make viewer numbed, and the learning opportunity increases eventually. 6) The use of humor: the audience become insensible to violence that is described in a playful or comic manner, and its influence is greater. 7) The implication of pain or damage: when the screen doesn't show the outcome of violence, like pain, injury or blood, its influence is multiplied. 8) The use of weapon: the description of violence by knife or gun can provoke aggressive thinking and behavior.

할리우드의 映畵産業 戰略과 韓國映畵産業의 新 進路

차인태,전평국 경기대학교 1999 論文集 Vol.43 No.1

This paper discusses the American movie industry, represented by Hollywood. and its foreign market strategy and its overall impact on the korean movie industry. Especially, this paper focuses on analyzing the current crisis of the Korea movie industry and developing the possible alternatives or new path for its reinvigoration by comparing the Production, distribution, and promotion system between the movie industries of the two countries. This paper argues that the current world dominance of the American movie industry can be attributed to its economies of scale, mass production, windowing effect through the horizontal and vertical integration among the relevant industries, strong marketing and distribution system, successful creation of derivative industries through the utilization of mass communication, and the export push and price differentiation policy of the American government. In contrast, this paper argues, the Korean movie industry is handicapped by insufficient movie infrastructure, emphasis on import of foreign movies rather than on national production of its own movies, meagerness of movie production capital, absence of the cooperation system or structure among the movie-relevant industries, and non-transparency of capital flowing for movie production. Following these arguments, this paper suggests that establishment of the strong infrastructure, creation of its own new image and brand for Korean movies, aggressive and efficient marketing strategy, and appropriate policy support of the government are necessary for the reinvigoration and development of the Korean movie industry.