한국 영화사에서 여성 관객의 영화 관람 경험 연구 : 1950년대 중반에서 1960년대 초반을 중심으로|RISS 상세보기

다국어 초록 (Multilingual Abstract)

This thesis considers women's spectator the movie viewing
experience in Korean film history from the mid 50's to the early 60's.
The important characteristics in 50's Korean films were Korean film
promotion policy, increasing number of Korean film productions,
expanding the number of theaters and the feedback from the audience.
In addition to these policies, melodrama and historical films were very
popular film genres. These phenomena brought women out to see the
movies. This thesis will reconstruct a certain period of Korean film
history in the experience and memory of women as spectator.
Reconstructing Korean film in the aspect of the system, in the aspect
of argument and women spectator's movie viewing experience through
their memory. It is very challenging to male-oriented and text-centered
film history. It also expands the depth of Korean film history written
from women's point of view. In evoking women spectator's movie going experience, this thesis
pays attention to the women as audience. It is important to view
audience in a social and historical context to explain a film as a
cultural product and the relationship between the audience interpreting
film as text and as a defining social, economic and historical factor.
This thesis consists of two parts. One is trying to write an
alternative history as a challenge of dominant history writing while
considering discussion on women as spectator in the view of history
and feminism. At the same time examining characteristics of women's
memory, oral and historical meaning.
The other consists of case studies of women spectator movie
viewing experience from this period. From these studies, first I can
trace meaning, role and influence on woman as spectator from memory.
Second I observe women's choice and taste from mass media and
decoding trends in foreign films, genres and actress.
Maybe women in the 50's and the 60's formed recognition and
subjectivity through identifying with one of the actresses in understanding
conscious, unconscious thoughts and emotion, recognition about
themselves and the relationship between themselves and the world. I
examine why women don't just see the movie but view the movie
theaters, and the theater cultural atmosphere in terms of women's
position and situation.
I interviewed women audiences in the age group of 60 years olds
and those over 70 who lived in the Seoul area and were eager to
reveal pleasant memories of past movies. While interviewing, I listened to this age group having conversation with friends or sisters about
movie viewing experience. So I drew information from the position of
respondent even though I had a questionnaire.
It was a period of another possibility not only for the Korean film
history but also for the formation of women's subjectivity. I try to
reveal how women possess modernity, experience the public sphere and
capitalize on women's life experience with mass culture. The purposes
of this thesis is to examine the composition of audiences with the same
viewing experience.
It's especially important to challenge absence of audience in feminist
film criticism because it challenges the notion that women audiences
are passive. So this study recognizes factors forming women's memory
in a certain period of time, analyzing convention and visualizing
women's experience while revealing special memory related to viewing
film.
It's in the period of the 1950's, that women's lives became more
generalized. They are the first generation to learn equality by experience
and have a clear self-image as rough as that was. This
consciousness affected their choice of movie viewing. The new viewer
refused to see their destiny portrayed in tear bomb Korean movies in
theaters. The American movies provided spectacles, stimulated the
desire of consuming and became a place of escape from every day
routine life. However, these are all for an audience of educated middle
class women. Many Korean women enjoyed the Korean movies because
of the inconvenience of subtitle in imported films. The movie theater was a place for education as well as entertainment and leisure because
of high rate of illiteracy. The description of Seoul in movies affected
image-making in Seoul for many women and helped women from the
province to adapt Seoul more readily.
Women spectators are resistent in that they want to escape from
subordinate and oppressed positions and seek their pleasure with
viewing movies. But they were not brave enough to achieve in there
same effect in reality. Women who were consistently controlled and had
interfered with by the schools and family imagined the theater as a
dream place. Using public sphere as private, women spectators obtain a
sense of belonging, dreamed romantic love and witnessed those feelings
destroyed in the real world. They felt miserable as women but continue
to live on newly empowered.

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국문 초록 (Abstract)

이 논문은 1950년대 중반에서 1960년대 초에 이르는 한국영화사에서 여성관객의 영화 관람 경험을 연구한 것이다. 여성관객성에 대한 연구 성과를 읽어내면서 특정한 영화를 독해하기 보다는 특정한 역사적 순간에서 다양한 독해의 범위와 독해의 과정들, 그리고 역사적 관객들의 집단 내에서 그들의 관계 혹은 관계의 결핍을 찾아내고자 하였다. 그래서 그동안 진행되어온 영화연구가 텍스트 분석에 대한 지나친 방법론적 강조에 의해서 자칫 영화 텍스트에 의한 관객의 위치의 생산으로만 관객이 의미를 단순화하지 않았는가에 대해 문제 제기를 하고자 한다. 여성 주체가 영화관을 들어가기전과 영화관에서 나온 후의 사회적 정체성이 여성관객의 독해의 내용을 결정짓는 데 중요하며 나아가 영화를 보는 과정속에서 어떻게 여성의 정체성이 계속적으로 변화하는지를 확인하고자 했다.
역사는 단수가 아니며 과거에 대한 주관적인 독해의 기록이다. 또한 공식적인 역사가들에 의한 과거의 연구만도 아니다. 기억과 역사의 관계는 붙잡기 어려운 불안정한 것일 수 있다. 하지만 영화의 역사 뿐만 아니라 영화 수용자의 역사에 관심이 있다면 수용자의 역사는 그저 사소한 기억으로만 남아있다하더라도 의미 있는 일이다. 기억은 과거의 사실에 대한 솔직한 재현이라기 보다는 오히려 복잡한 문화적 과정이다. 이것은 ‘공적인’ 과정과 ‘사적인’ 내러티브의 협상을 통해 정체성을 생산하는 심리적이고 사회적인 수준에서 작동되는 것이다. 즉, 현재에 비추어 과거를 재생산하는 것이며 그 때 이후 오늘날까지의 대중적인 지형들을 따라 형성될 것이라는 가정이 가능하다. 특히 페미니스트 영화비평연구에서 수용자의 부재에 도전하는 것은 매우 중요한데 그것은 여성수용자가 수동적이리라는 가정의 재생산에 대한 도전이기 때문이다. 이로 미루어 이 연구는 특정한 시기에 대한 여성의 기억들을 형성하는 요인들을 인식하고 그러한 자료가 재현되는 관습들을 분석하며 ‘영화 보기’에 얽힌 특정한 기억들을 드러내면서 여성들의 경험을 가시화시킨다는 의미도 있다고 생각한다.

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이 논문은 1950년대 중반에서 1960년대 초에 이르는 한국영화사에서 여성관객의 영화 관람 경험을 연구한 것이다. 여성관객성에 대한 연구 성과를 읽어내면서 특정한 영화를 독해하기 보다는...

목차 (Table of Contents)