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- 저자 : Travis Workman (검색결과 2 건)
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Narrating and Aestheticizing Liberation in Hurrah! for Freedom and My Home Village
Travis Workman 한국학중앙연구원 한국학중앙연구원 2015 THE REVIEW OF KOREAN STUDIES Vol.18 No.1
This article examines two films that have become canonical representations of national liberation in South Korea and North Korea: Hurrah! for Freedom (Jayu manse, Choe In-kyu, 1946) and My Home Village (Nae gohyang, Kang Hongsik, 1949). Taking the liberation period (1945-1948) as a postcolonial moment before the complete entrenchment of the Cold War system and its attendant conflicts and ideologies, it analyzes how the films look to the recent past of Japanese colonialism and how they prefigure the dominant national narratives and aesthetic ideologies in each Korean nation-state, particularly in relation to national liberation. In addition to examining how each film represents the colonial period, the article also relates the narratives and visual conventions of the films to colonial period filmmaking, as well as to Hollywood and Soviet cinemas. It is organized into two sections. The first section discusses the narrative forms of the two films and the second discusses their aesthetic ideologies through an attention to the dynamics of interior and exterior, depictions of landscape, and the effects of close-ups.
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Stepping into the Newsreel: Melodrama and Mobilization in Colonial Korean Film
Travis Workman 고려대학교 민족문화연구원 2014 Cross-Currents Vol.- No.10
As part of a project on melodrama in Korean film, this article examines the ways that films from the late colonial period (1937–1945) blurred the traditional boundaries between newsreel documentary and fictional features in an attempt to suture the film spectator into the cinematic representation of what André Bazin called, in relation to the newsreel, “total history.” Drawing on theoretical discussions of sentimentality and melodrama, the article compares the earlier fictional film Sweet Dream (1936) to the wartime film Straits of Chosŏn (1943) in order to trace how melodrama was transformed through its incorporation into political propaganda. It discusses how narrative cinematic techniques such as point of view, shot/reverse shot, and crosscutting allowed Straits of Chosŏn to draw the viewer into spectacles of mobilization that were formerly represented through the more anonymous mass medium of the newsreel documentary. The remainder of the article touches on the films Volunteer (1941) and Spring of Korean Peninsula (1941), discussing how the interpretive excess enabled by melodrama remained visible after the hybridization of fictional film and newsreel, primarily through the disjuncture between the films’ melodrama narratives and their spectacles of mobilization. In conclusion, the article suggests that the gradual elimination of any narrative excess in 1940s films reflects an apprehension about the multiple codings, identifications, and interpretations enabled through the combination of melodrama narrative with political propaganda.
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