1970년대와 1980년대 한국 고교생영화의 관계성 연구 -<고교 얄개>(1977)와 <행복은 성적순이 아니잖아요>(1989)를 중심으로-

오진곤 ( Jin Gon Oh ) 한양대학교 현대영화연구소 2011 현대영화연구 Vol.7 No.2

This thesis is a study of the relationship between the <Yalkae-A Joker In High School>(1977) and <Happiness Does Not Come In Grades>(1989). These movies depicted High school life of the students. Therefore, these movies have similar peculiarity in characters, narratives, episodes, cameras and editing styles, etc. However, there are differences between these movies in themes and more precise and partial side. The differences were generated from the difference of a cinema production systems and social situation at the time of having been reflected in the movies.

1970년대와 1980년대 한국 대학생 영화의 비교분석 연구 -<바보들의 행진>과 <미미와 철수의 청춘스케치>를 중심으로-

오진곤 ( Jin Gon Oh ) 한양대학교 현대영화연구소 2010 현대영화연구 Vol.6 No.2

This thesis is comparative study between the <The March of Fools>(1975) and <Sketch in Youth of Mimi and Chulsoo>(1980). These movies depicted university life of the university students. Therefore, these movies are almost same about narratives, characters, episodes, cameras and editing styles, etc. However, there are differences between these movies in more precise and partial side. The differences were generated from the difference of a university cultures and political situation at that time of having been reflected in the movies. The characters of the university cultures of <The March of Fools> is sociality, compared with that of <Sketch in Youth of Mimi and Chulsoo> is individualism. The images of these movies were containing their own meanings as composing element of an entire works. In spite of them, there are differences between these movies in the director`s artistic intentions and real recognitions. This study analyzed the way of the connection that individual scenes and sequences of these movies had made the processing of understanding the meanings, codes, symbols, and the metaphor of the that ages. There are similarities and differences between these two movies in the point of using images. It seems that techniques of images are same but the point of emphasis are different between them.

영화와 문학의 상관관계에 관한 연구 -몽타주 기법을 중심으로 본-

오진곤 ( Jin Gon Oh ) 한양대학교 현대영화연구소 2009 현대영화연구 Vol.5 No.1

One of the important features for the areas of culture late in the 20th century is the brilliant development of the visual media including film. The rising of the visual media has promoted new cultural environment of the day. In this reason it becomes hard to understand today`s social and cultural changes without any knowledges of the role of visual media. We often observe that one kind of literature text is transformed into different forms of media to be produced in diverse states. These are the cases that their literal texts are got out of the narrow literal category and enlarged to the new media forms in the new situations. In this basis the necessity rises that the theme of the new media research methodology in the interdisciplinary research area must be accepted positively and developed following the new trend. The movement of the form of film has been raised from the late of the 19th century like that of the modernism in literature. But it has been constituted in a condensed and united aspect even if going together with the movement of modernism in the beginning of the 20th century. The form of film has enlarged and spreaded out until over the half of the 20th century and the tendency makes the novelists of the James Joyce`s age and important novelists at the present being able to speak for the today`s literal situation build up their concrete relationship. Specially the relation between the Joyce and the film shows typically the interrelationship between modern artists in literature and other areas. There are similarities and differences between film and literature in the point of using images. Images are used to reveal some important things visually in literature and in film, by the way, to emphasize the importance of the things showed visually. It seems that techniques of images are same but the point of emphasis are different in them. The montage of film is a kind of signal order system of images. The montage is necessary to the life of prologue. If there is no montage there are only remained simple and constant time and space and reproduced exactly endlessly. Different time and difference space can be existed together owing to the montage in film with successive series in the narrative scenes.

1970년대 한국 ‘호스티스 영화’에 관한 재고(再考): 영화사적 측면을 중심으로

오진곤 ( Oh Jin Gon ) 한양대학교 현대영화연구소 2021 현대영화연구 Vol.17 No.1

본 논문에서는 1970년대 한국 호스티스 영화를 둘러싼 여러 의문들에 대한 구체적인 답을 구해 보고자 하였다. 이를 위해, 호스티스 영화의 개념과 명칭, 효시작과 대표작의 공통점과 차이점, 갈래의 분화와 장르화의 흐름 등에 관한 실증적 재검토를 시도하였다. 그 결과, 다음과 같은 결론을 도출하게 되었다. 첫째, 호스티스 영화는 1970년대에 제작·개봉된 멜로드라마에 속하면서 극중 여성 주인공이 호스티스를 포함한 유흥업계 종사자로 설정된 일련의 작품들을 지칭한다. 아울러 그것은 1970년대 후반 이후 ‘호스티스 영화’, ‘호스티스물’, ‘호스티스 멜로드라마’ 등으로 호명되어 왔고, 이 가운데 ‘호스티스 영화’라는 명칭이 오랜 시간 동안 널리 사용되어 온데다가 가장 일반적인 의미를 담고 있다. 둘째, 호스티스 영화에 속하는 작품들 중에 효시작은 시기적으로 가장 앞선 변장호 감독의 <눈물의 웨딩드레스>(1973)이라 할 만하다. 또한 이장호 감독의 <별들의 고향>(1974)의 경우, 보다 커다란 대중적 성공과 사회적 반향을 일으키는 한편 동시기 문예 경향을 토대로 내용적, 형식적 측면에서 새로운 유행을 이끌며 대표작으로서의 위상을 점하게 된 작품으로 공인되어 있다. 셋째, 호스티스 영화는 원전의 종류 및 성격, 제작 및 개봉 시기, 감독을 비롯한 제작 주체의 세대 등에 따라 여러 갈래로 분화되었으며, 이로써 호스티스 영화의 다면적, 다층적 특성이 드러나게 되었다. 한편으로 호스티스 영화는 1970년대 후반을 지나면서 장르화 경향을 강화해 갔는데, 이러한 양상은 1980년대로 이어져 이른바 ‘성애영화’ 출현에 교두보를 마련하기도 하였다. In this thesis, I tried to find out specific answers to various questions surrounding Korean hostess films in the 1970s. For this, reviews which the concept and name of the hostess films, the commonalities and differences between the first film and representative film, the divergence of branches and the flow of genreization, etc. were attempted. As a result, the following conclusions were drawn. First, hostess films belong to the melodrama produced and released in the 1970s, and refer to a series of works in which the female protagonist in the play was set up as a worker in the entertainment industry including hostess. In addition, since the late 1970s, it has been called ‘hostess films,’ ‘hostess works,’ and ‘hostess melodrama,’ among these, the name ‘hostess films’ has been widely used for a long time and has the most common meaning. Second, among the films belonging to hostess films, the first work of the beginning is Wedding Dress in Tears(1973) by director Byun Jang-ho, the most advanced in time. And in the case of Director Lee Jang-ho’s The Home of Stars(1974), it was a worth doing work that brought about greater public success and social repercussions, while leading a new trend in terms of contents and forms, based on the contemporary literary trends, and gained its status as a representative work. Third, hostess films were divided into various branches depending on the type of original works, production and release periods, and the generation of the production subjects including the director ect. These revealed the multi-area and multi-layered characteristics of the hostess films. On the one hand, hostess films reinforced their genre character through the late 1970s. This pattern continued into the 1980s and laid a bridgehead for the emergence of so-called ‘erotic films’.

유신체제기 영화와 방송의 정책적 양상에 관한 연구 : 유신체제의 법제적 장치에 따른 영화와 방송의 법제적 조치를 중심으로

오진곤(Jin-Gon Oh) 서울대학교 언론정보연구소 2011 언론정보연구 Vol.48 No.1

1970년대 초반 한국에서는 유신체제가 구축되었다. 유신체제는 박정희 정권이 장기집권과 영구집권을 위해 도입한 정치시스템이자 사회시스템이었다. 유신체제는 당시 대중에게 영향력을 행사하던 영화와 방송을 관리하였다. 따라서 당시 영화와 방송 정책은 유신체제 안에서 취해지며 다음과 같은 구체적인 정책적 양상을 보였다. 첫째, 유신헌법이 도입된 이후 제4차 영화법 개정과 제2차 방송법 개정이 이루어졌다. 둘째, 정치 분야에서의 통일주체국민회의와 같은 역할과 기능을 지닌 조직체인 영화진흥공사와 한국방송공사가 설립되었다. 셋째, 긴급조치의 실시에 따라 새로운 영화시책과 방송지침이 내려졌다. 이로 인해 영화산업과 방송산업의 구조가 독과점 형태로 고착되었고, 영화와 방송의 내용이 국가권력의 의도에 따라 변형되었다. The Yushin system was established in South Korea at the early of the 1970?s. The Yushin system was a political and social system that Park Chung­hee?s administration introduced for a long­term political power and the permanent authority. The Yushin system managed the cinema and broadcasting that influenced to the general public at that time. Therefore, the cinema and the broadcasting policy were taken in The Yushin system and showed the features as follows. Firstly, The Yushin Constitution were introduced and it became the foundation of the 4th revision of the cinema law, and the second revision of the broadcasting law. Secondly, the Korean film promotion public corporation and the Korean broadcasting system that took charge of the roles and the functions like the Union main agent national conference(Tongil­juche­gukmin­hoiui) were established. Thirdly, the new cinema policy and broadcasting guidelines were given by exercising the emergency measures. As a result, the structure of the cinema and the broadcasting industry became monopolistic forms, and the contents of them were transformed by the intention of the government power.

유신체제기 한국영화 〈증언〉(1974)의 영화적 특징과 시대적 특수성

오진곤(Oh, Jin_Gon) 한국영화학회 2011 영화연구 Vol.0 No.50

This thesis is a study of 〈Witness〉(1974) produced by Korean film promotion public corporation in the October Revitalizing Reforms(the Yushin) system. The Yushin system of the revitalizing reforms system was constructed South Korea in the 1970’s. The Yushin system was a political system and economical system and social system that Park Chung-hee’s administration introduced for a long-term power and the permanent adhering right. The Yushin system managed the cinema that had asserted one’s influence to the general public at that time. Therefore, 〈Witness〉 was taken in the Yushin system and showed the feature. 〈Witness〉 depicted Korea war and has peculiarity in characters, narratives, episodes, cameras, sounds and editing styles, etc. Thus, 〈Witness〉 secure realism and entertainment, and seek propaganda effect and commercial success.

1970년대 후반 한국 반공영화와 아동영화의 장르적 혼합 양상에 관한 연구: < 가깝고도 먼 길 >(1978)을 중심으로

오진곤 ( Jin Gon Oh ) 서강대학교 동아연구소 2016 東亞 硏究 Vol.35 No.1

This paper explores how, in the late 1970s, an anti-communist film genre and a children’s film genre were mixed in the case of a Korean movie, “So Close Yet Far”. Reflecting the cultural and social trend of the anti-communist film production at that time, the movie was made under the social system of film-making set by the government policy to control and promote culture. Along with change in the film industry at that time, the children’s movie became popular and segmented into a subculture. Thereby the movie showed the mixed property of both the anti-communist film and the children’s one. It reinforced the anti-communist theme and appealed to the mass audience through various modes of film expression. In narrative and audio-visual production techniques, it shared similarity with anti-communist movies and children’s movies, but also showed differences. One difference was in the way the film “So Close Yet Far” merged themes drawn from the contemporary political relationship between the South and North Korea in the late period of the former president Park, Chung-Hee’s government. The uniqueness of the film “So Close Yet Far” is that it retains a dual position as both an anti-communist film and children’s one.

기타 : 1970년대 말 한국 애니메이션의 반공 이념 반영과 표현의 양상 - <똘이장군> 시리즈를 중심으로 -

오진곤 ( Jin Gon Oh ) 조선대학교 인문학연구소 2015 인문학연구 Vol.0 No.49

본 연구는 <제3땅굴편 똘이장군>과 <간첩 잡는 똘이장군>을 중심으로, 1970년대 말 한국 극장용 장편 애니메이션이 어떠한 시대적 배경과 문화적 환경 하에 어떠한 매체적 방식으로 ‘북한(인)’을 묘사함으로써 반공의 이념을 반영하였는지에 대해 살펴보았다. 1978년부터 1979년까지 1, 2편으로 제작된 <제3땅굴편 똘이장군>과 <간첩 잡는 똘이장군>은 최초의 극장용 반공 장편 애니메이션으로서, 전통적 소재로 출발하여 미래 세계와 우주 공간을 배경으로 하고 로봇 이미지와 태권도 동작을 선보이던 당시 유행작들과는 다소 다른 지점에서 기획, 제작되었다. <제3땅굴편 똘이장군>은 제작 당시 사회적으로 커다란 이슈가 되었던 북한의 남침용 땅굴을 핵심적 모티브로 삼았고, <간첩 잡는 똘이장군>은 1970년 강화도 교동도에 침투한 간첩을 어린이들의 기지로 소탕했던 실화를 바탕으로 하였다. 그렇기에, 전편(前篇)은 금강산 주변의 북한 땅을, 후자는 남한 영토인 강화도 교동도와 수도 서울을 주요 공간적 배경으로 설정한다. 두 작품에는 인간과 동물이 등장하는데, ‘붉은 도당’으로 표현되는 당과 군의 간부는 여우로, 그 밑의 졸개(병사또는 간첩)는 늑대로 나온다. 그러나 전편에서 김일성을 상징하는 ‘붉은 수령’이돼지로 나오는 데 반해, 후편에서는 등장하지 않으며 여우와 늑대 역시 간첩의 성격에 맞게 평시에는 각각 성인 여자와 남자로 나온다. 이들 애니메이션은 북한 공산당의 실정(失政)과 남파 간첩의 만행을 적나라하게, 때로는 다소 과장되게 표현한다. 그러면서 동시기 북한의 실상을 고발하고 간첩에 대한 경계심을 유발하여 공산주의에 대한 거부감과 증오를 고양시킨다. 이는 동시기 한국 정부의 반공(문화) 정책 및 한국 사회에 유포되던 북한(인)에 대한 이미지와 반공적 국가 교육기조가 반영된 결과였다. 하지만 이에 따라 작품의 주제는 강화되는 반면, 사건의 개연성과 이야기의 논리성이 떨어지는 경향을 드러내기도 한다. 그럼에도, 이들애니메이션은 다수의 관객을 동원하였고 후속작으로도 제작이 계속되었다. 아울러 이후 반공 애니메이션 제작을 견인하기도 하였다. This study researched the Korean theatrical feature animations in the late 1970s are in any medium style under any background of currents and cultural environments reflect the ideology of anti-communism by portraying the ``North Korea(people) focused on the <General Ttoli; Third tunnel section> and <General Ttoli catching Spy>. From 1978 to 1979, part 1 and part 2 designated by <General Ttoli third tunnel section> and <Spy to catch General Ttoli> is a feature-length animation for the first anti- communist theater, starting with traditional subject materials and to the future of the world and outer space background planning in robotic fashion images with slightly different point from those at the time seemed less Taekwondo line operation, was produced. At the <General Ttoli; The third tunnel section> was motivated the tunnel for the North Korean invasion which was a big issue at the time, <General Ttoli catching Spy> was based on a true story that has had swept the spies by the children`` wit who infiltrated the Gyodongdo at Ganghwa in the 1970. Both work has appeared humans and animals, the ``Red Faction``, officials of the military and the party is represented as fox, the henchmen(soldiers or spies) comes into a wolf.However, whereas the ``red leader`` Kim Il-sung in the first part coming of pork, the sequel does not appear, to fit the personality of the fox and the wolf also has come in peacetime espionage adult women and men, respectively. These animations are represented naked the situation of the North Korean Communist and cruelty of spy to infiltrate the South spies and sometimes is expressed somewhat exaggerated. And yet accusing North Korea of reality in the same time and thus lead to heightened vigilance for spying for the rejection and hatred of communism This same period of the anti-Communist South Korea(culture) and semi-public policy and image of the North Korea(people) that were circulated in South Korea were the result reflects the national educational keynote. On the other hand, these films`` subject is being strengthened, but the logicality of the story and probability of the event is tend to be weaken. Nevertheless, these animations were also mobilized a large number of the audience and sequel works were continued. In addition, these animations lead the anti- communist animation in the 1980s.

1970년대 한국 국책영화의 양가성과 균열 양상에 관한 연구 -<들국화는 피었는데>(1974)를 중심으로-

오진곤 ( Oh Jin Gon ) 한양대학교 현대영화연구소 2019 현대영화연구 Vol.15 No.1

본 논문은 이만희 감독의 <들국화는 피었는데>(1974)에 주목하여, 이를 중심으로 1970년대 한국 국책영화의 양가성과 균열 양상에 관해 고찰한 연구의 결과물이다. 박정희 정권의 유신체제 수립직후인 1973년 4월 3일 출범한 영화진흥공사(영진공)에서는 한국전쟁을 소재로 한 반공 전쟁영화를 직접 만듦으로써 ‘영화 국책’을 실현하고 동시기 한국영화의 전형을 제시하려 하였다. 그렇지만 계몽·선전의 효용과 대중적 파급력을 일거에 획득하려 한 이러한 국가적 기획은 제작 과정에서 감독의 연출을 거치며 온전히 작품에 수용되지 못한 채 차질을 빚어내었다. 이에 영진공의 자체영화 제작 사업은 중지되었고, 정부는 우수영화 제도를 통해 민간 차원에서 ‘국책영화’를 양산시키려 하였으나 이 역시도 혼선이 일어났으며, 이는 국책영화의 정체성과 안정성이 저해되는 결과로 이어졌다. 영화 정책 및 제도상으로 ‘국책’에 대한 당위가 강조되긴 하였으나 이것이 작품과 대면하며 겉돌거나 굴절되어 버리는 현상이 1970년대 초중반을 지나 중후반을 통과하면서도 지속적으로 일어났던 것이다. 동시기 한국영화의 제작 경향에서 결코 가볍게 치부되어서는 안 될, 영화사적 의의를 내포하는 의미 있는 지점이라 할 수 있다. This thesis focuses on < When Wild Flowers Blossom >(directed by Lee Man-hee, 1974), and it is the result of a study that examines the ambivalence and cracking aspect of Korean national film in the 1970s. The Korea Film Promotion Corporation(Young Jin-gong), which was launched on April 3, 1973, shortly after the establishment of the Park Chung-hee Yushin regime, tried to realize the ‘National Policy Film’ by producing the anti-communist war films based on the Korean War and to present the typical Korean movie at the same time. However, this national project, which tried to acquire the utility and popular power of enlightenment and propaganda at once, was disrupted without being fully accepted in the work through the directing of the director during the production process. Due to this, Young Jin-gong’s own film production business was suspended, and the government tried to mass-produce ‘National Movies’ at the civilian level through the excellent film system, but this also caused confusion, which resulted in the identity and stability of national films. Although the film policy and system emphasized the necessity of ‘National Policy’, this phenomenon was confronted with the work and it was repeatedly happening in the mid-to late 1970s through the early and mid 1970s. This time is a meaningful point that implies the significance of the film history that should never be lightly dismissed on the trend of Korean Film Production in the concurrent period.

텔레비전 영상의 의미화에 관한 연구

오진곤(Oh Jin-Gon) 한국영화학회 2002 영화연구 Vol.- No.19

The purpose of this study is to analyze the function of imagery meaning come to us and the meaning on the message and the research on how we decode and react to television imagery messages. The individual meaning of imagery was made clear just like in the theoretical background to know the meaning of imagery and found out the analytic process of diverse signification in the Held of camera, lighting, movement, color etc. and how the signified could be explained. It was proved that imagery has polysemous meaning in its own imagery style. The meaning of those phenomena was closely examined through analytic research of text cases. The meaning of text can be explained easily not with cause and effect principle but with the structural grammar and promised rules of society. Through the analysis of television programs found out diverse ideology and meaning which polysemous imagery communicate through the analysis of cases. And found out diversified connote meanings through the analysis on sports programs, therefore this thesis suggest the possibility of analysis of many different programs.