1970년대 ‘국민학생관람가’ 영화에 나타난 ‘아동의 죽음’에 대한 연구 ―이승복, 정재수 실화 영화를 중심으로―

박유희 민족어문학회 2023 어문논집 Vol.- No.99

This study examines cruelty, particularly the death of children, as depicted in films rated for elementary school students in the 1970s to analyze the dynamic relationship between cruelty and sublimation for film censorship during this period. During the 1970s, the Korean government placed a lot of emphasis on wholesomeness and morality for political purposes. Concurrently, this period witnessed a rising interest in films for children, as they emerged as a crucial audience with the growth of baby boomers. Numerous discussions of these films arose in response to this trend, and the Korean government actively intervened in the production of children’s films by implementing censorship and the Outstanding Film System. The film rating for elementary school students, which was introduced in this period, corresponds to the general audience rating of the present. In other words, the entire public, including children, were allowed to watch films rated for elementary school students, which were evaluated as harmless and enlightening by the authorities responsible for film censorship. Standards for determining which films would be rated for elementary school students reflected the ethical goal that the innocence of children should not be damaged as well as the political goal that children should be disciplined to become “right and wholesome” citizens of the nation. For this reason, films rated for elementary school students tended to exhibit the Korean government’s national ideology and policies. However, scenes of children’s death were actively depicted in these films. For film censorship in the 1970s, the Korean government consistently stressed the importance of sublimation, which refers to the act of implementing cinematic representation to convey or promote values recommended by the nation. In this context, “sublimation” served as a bridge connecting censorship and the representation of a film. Once film scenes were confirmed to be sublimated, even obscene and violent scenes were allowed for public viewing. This study posits that the cruelty associated with the scenes of death of children, seemingly recommended for viewing by children, had a close relationship with the demand for sublimation. Based on this premise, it analyzes the dynamic relationship between cruelty and sublimation and the significance of such a relationship by examining films of the 1970s that portrayed the death of Lee Seung-bok and Jung Jae-soo, who were respected as admirable children, in the context of film censorship applied to the target films. Consequently, it presents the distinct features of Korean films of the 1970s that were structured on a combination of sublimation and cruelty.

동성애 영화에서의 ‘보는 즐거움’의 정치학: <브로크백 마운틴>, <서양골동양과자점 앤티크>, <쌍화점>을 중심으로

이형숙 문학과영상학회 2009 문학과영상 Vol.10 No.2

This paper examines the specific cinematic tactics with which films dealing with homosexuality appeal to heterosexual audience. In discussing this issue, the study compares an American film, Brokeback Mountain, and two Korean films, Antique and Ssanghwajǒm. Although these films apparently seem to signal a new era in American and Korean film culture when homosexuality is less tabooed than before, a deeper observation of the films’ cinematic techniques and audience demographic reveals that they actually ignore homosexual audience by mainly focusing on heterosexual spectatorship. To find out how the homosexual films attract different groups of audience, the paper first traces the specific visual pleasure that each film generates. Brokeback Mountain parades beautiful American landscape to familiarize the gay story to heterosexual audience in general, whereas the two Korean films feature extremely beautiful male actors(kkotminam) to draw the attention of female audience. In both cases, homosexuals themselves are hardly considered as the target audience. Therefore it is revealed that the success or proliferation of gay films do not necessarily prove or contribute to the elevation of homosexual status in society. Instead, homosexual films produced in the mainstream film industry such as these three films can become deceiving markers of the social change regarding homosexual reality that has not yet come. This paper examines the specific cinematic tactics with which films dealing with homosexuality appeal to heterosexual audience. In discussing this issue, the study compares an American film, Brokeback Mountain, and two Korean films, Antique and Ssanghwajǒm. Although these films apparently seem to signal a new era in American and Korean film culture when homosexuality is less tabooed than before, a deeper observation of the films’ cinematic techniques and audience demographic reveals that they actually ignore homosexual audience by mainly focusing on heterosexual spectatorship. To find out how the homosexual films attract different groups of audience, the paper first traces the specific visual pleasure that each film generates. Brokeback Mountain parades beautiful American landscape to familiarize the gay story to heterosexual audience in general, whereas the two Korean films feature extremely beautiful male actors(kkotminam) to draw the attention of female audience. In both cases, homosexuals themselves are hardly considered as the target audience. Therefore it is revealed that the success or proliferation of gay films do not necessarily prove or contribute to the elevation of homosexual status in society. Instead, homosexual films produced in the mainstream film industry such as these three films can become deceiving markers of the social change regarding homosexual reality that has not yet come.

역사사료로서의 영화적 가치 : 영화 <포화속으로>를 중심으로

어일선 청주대학교 학술연구소 2010 淸大學術論集 Vol.16 No.-

Recently, historical subject matters and backgrounds have been positively used in films. It may be said that this is caused by tastes of the general public who are interested in old stories. Including the film <Brotherhood> dealing with the Korean War, diverse events of modern history, which used to be taboos, have been dealt with in many films. The fact that such films dealing with historical events have been produced continuously reflects the interest of the public in films. As the result, the audience will come into contact with various events of each era. Watching the films, the audience will not encounter the history described by historians, but they will encounter a new history remade in the film. In short, history is recreated and spread through film media. And also the audience cannot but consume the history suggested by films indiscriminately due to such amount of supply. If so, at this moment, we cannot but have a question about 'How much does the history in films correspond with facts?' We will have questions, such as 'Is it possible for films produced by the industry focused on profits to speak for historical truth', or ' Do we recognize wrong truths twisted by the illusions of films?' Due to the properties of films, the public perceptions may be reflected on films, but on the other hand they may have great effects on the public perceptions. It must be admitted that the influence of films on the public recognition of history is bigger than that of history books. Though historians may disagree to this, films cannot but be important objects of analysis due to the fact that it allows us to know how social recognition of a specific historical event is changing. Therefore, it is required to consider how films deliver historical facts through historical inquiry and interpretation when films are considered as historical resources to investigate the historical event. In other words, it is required to find out how much the contents dealt with in the film are not consistent with the historical events, so that it may be followed by an analysis work. The core task of this study is to investigate the degree of the historical value of films, which shall have unrealistic elements, through the analysis work. In this research, the value of film as historical resources was investigated by analyzing the film, <Into the fire>, which was produced recently, taking the battle of Pohang Student Soldiers as the subject matter. Whether we like it or not, description of history has been carried out by films, and it is at the point of time when the history, which used to be described in standardized framework, is expanding its own scope. It is concluded that a film may be a means of description of history, namely the film itself may become historical resources. In other words, the history in a film may be more historical than actual history. Even though what is expressed in a film is a historical fiction, the audience would believe it was a real history. This fact implies that we are in the age where films are regarded as valuable historical resources as actual resources. It is more significant that films suggest various interpretation methods for history, rather than whether the cinematic interpretation is proper, or it is a truth based on a historical investigation or not. Accordingly, nowadays films are produced based on history, and the films play the role of historical resources again. From now on, there must not be any debate over the reproduction of past through creative autonomy, interpretation of historical events and production in order to allow films to be true historical resources. Films dealing with history need to pay attention to the possibility of history description rather than the debate. And in order to use films as historical resources, film producers, historians and audience shall have a positive and correct attitude toward films. In short, the endeavor to understand the pros and cons of films dealing with history and the characteristics of films as historical resources shall be regarded as more important than anything else.

1950년대 외국 스릴러 장르의 한국적 수용양상

이길성(Lee Gil Sung) 한국영화학회 2010 영화연구 Vol.0 No.45

Action-thriller films became a regular part of Korean cinema in the early 1960s. At that time, favorable reviews of the action-thriller films concluded an idiomatic expression, "like imported films" or "like seeing imported films". These comments involved two meanings. One was bearing comparison with imported films. Korean action-thriller films in the 1950s had many problems caused by a poor making-condition after the Korean War. Therefore, "like imported films" meant quite an performance which overcame inferior conditions in Korean film-making. Another meant the real similarities between Korean action-thriller films and imported thriller films. As in the film reviews, imported films in the 1950s had an influence on Korean films, particularly the basic structure of Korean action-thriller films. This article examines the aspects and points on the acceptance of imported films in the 1950s. One of the points is that various genre works in imported films were included in an action-thriller film category because many different types of imported films produced in varied times were concurrently released. As a result, the works that could be divided into gangster, crime and spy films were accepted as a single category which is an action-thriller film. But, the acception of a various sub-genres in thriller played a decisive role in shaping the characteristics of Korean action-thriller films. Therefore, the type of criminal world like gangster became a more important trend than crime-solve narrative in Korean action-thriller films in the 1960s. Especially, the works of Lee Man-hee and Kim Mook have shown remarkable characteristics like the gangster film genre does. However this characteristic is different from the Hollywood gangster's. These works are more similar to the European crime films, for instance Henri-Georges Clouzot's or Jacques Becker's films and Carol Reed's films. The theme in these films, which is action of human beings in the extreme situation, expressed in a nihilistic or cynic mood affected many Korean action-thriller films.

1930~40년대 상하이 영화의 양가성 연구

陳性希 한국중국소설학회 2013 中國小說論叢 Vol.40 No.-

Shanghai was at the center of the early stages of development of Chinese film industry. Following the Opium War of 1840 and the Treaty of Nanjing in 1842, Shanghai opened its port and emerged as the economic cultural capital of China. Shanghai was prepared to produce, distribute, and screen films. The city also had large enough population consume the new form of media called film. Previous studies of Shanghai films focused on backgrounds of development and the division into two groups: leftist films of socialistic realism and popular films influenced by the West, namely the United States. This study diverges from the mainstream of analysis on the Shanghai films of the 1930s and 1940s. It contemplates aspects of negotiations that occurred among the leftist and popular films. In order to overcome binarity, the of Peter V. Zima was borrowed to prospect collision and negotiation among the two groups. The leftist films employed different bargaining mechanisms concerning the aesthetics of popular films influenced by the West. First, they reflected Chinese ideologies to adhere to, such as humanitarianism and paternalism, in soap opera that were familiar to the public. They also employed audio techniques that drew political agenda―patriotism and establishment of national identity―into individual subjectivity of their audience. The effective association between mainstream aesthetics and ideologies found in Shanghai films of the 1930s and 1940s had substantial influence on Sinophone films in later years. Furthermore, Shanghai films demonstrated significant impact on films made in the first half of the 20th century. They are also in the middle of the emergence of Asian films at the present time. study of Shanghai films is equivalent to investigation of Sinophone films of the 21st century. Moreover, there is a common feature between Shanghai and film: Shanghai is the first modern city in China; and film popular media that reveal urbanism by nature. context and characteristics of Shanghai films is significant and because it is related to exploring the reality of fast urbanization in China.

중국 홍색 영화의 발전 양상 연구

장전웨이 부산대학교 영화연구소 2023 아시아영화연구 Vol.16 No.3

Red films refer to a series of Chinese movies produced at different stages of the development of the Chinese Communist Party’s leadership in the film industry. These films typically promote the mainstream ideology of the Chinese Communist Party and often have revolutionary themes. This article categorizes red films into five different periods based on the stages of Chinese history: the Left-Wing Film Period, the Liberated Areas Film Period, the Seventeen-Year Film Period, the Main Melody Film Period, and the New Mainstream Film Period. The article aims to summarize and analyze the origins and development patterns of red films within these distinct historical periods. In the 1930s, as national and class contradictions intensified in China, the Chinese Communist Party established the “China Left-Wing Drama Writers Alliance” to strategically shape popular class consciousness and assert control over the Chinese film culture. During the Liberated Areas Film Period, within regions under effective Communist Party control, their influence over the film industry transitioned to “direct leadership.” Films during this era primarily served as vehicles for news reporting, carried significant political messages, and were marked by their combative and propagandistic nature. During the Seventeen-Year Film Period, which coincided with the early years of the People’s Republic of China, the newly established social system posed challenges for the Chinese Communist Party. During this time, the Party struggled to fully grasp the essence and rules of the political system, and frequent political movements and interventions had a significant impact on the development of the film industry. During the Cultural Revolution, the only model films allowed the development of Chinese red films to flourish and become exhausted. This period did not fully achieve Mao Zedong’s aspiration for the “unity of politics and art.” With the reform of China’s economic system and the liberation of thought and culture, Red Films entered the Main Melody Film Period. In this era, Main Melody Films, while continuing to uphold the leadership of the Communist Party and its ideological propaganda, still emphasized grand narratives and paid little attention to the “individual.” New Mainstream Films, on the other hand, represent the commercialization of Main Melody Films. They not only inherit the ideological values of Main Melody Films but also focus on the relationship between individuals and the nation in their creative process. Through the efforts of individuals or groups, they achieve the grand thematic expression of the national ideology. Over the past century of Red Film development, under the firm control of the Communist Party and its mainstream ideology, Red Films have displayed different characteristics in different periods. However, their ideological propaganda core has remained unchanged. But with social development, the Communist Party of China has gradually realized that Red Films, solely focusing on ideological propaganda, can no longer meet the spiritual and cultural needs of the masses.

以外国原作为基础的中国翻拍电影研究

QiaoXuehao,신형덕 부산대학교 중국연구소 2019 Journal of China Studies Vol.22 No.3

Chinese film industry has recently grown rapidly. In the process, lots of foreign films have been reproduced in China as remake films which usually are localized for Chinese audiences. These remake films can be preferred because they have been proved to be popular in foreign countries where original films were released. Then the issue is how to customize original films to Chinese version. In this paper, foreign originals and Chinese remake films by genre (romantic, criminal suspense, family and fantasy) were compared along with narrative structure (character, plot, and lines) and the shooting technique (color and lighting, scenes and props, shooting skills). We collected 21 sets of original-remake couples of films (11 romantic, 6 criminal suspense, 2 family, and 2 fantasy films) released between 2013 and 2017 in China. As a result, we found that Chineseremake films tend to have more indirect description on love, show crime background, prefer happy ending, and describe main title more intelligent compared to foreign originals for narrative structure components. Also, we found that Chinese remake films tend to use red color for romantic mood, chilly grey for crime scene, red-and-yellow contrast for family gathering, and blue color for fantasy mood compared to their foreign originals. The findings of this study would contribute to the literature in the film industry, especially in remake films production field, by showing how cultural differences between foreign countries and China can be applied in remaking foreign-original films, and eventually benefit to practitioners who are working in Chinese films industry. Specifically, in terms of color usages, Chinese remake films have more ethinically distinguished characteristics from foreign original films which should be considered by Chinese films business people. Narrative structure components are not relatively mush different between the compared sets of films.

영화 <철의 꿈>의 분석을 통한 에세이 영화의 정체성 고찰

YOOJISUKLAIRE 한국영상학회 2015 한국영상학회 논문집 Vol.13 No.5

2010년대를 전후하여 한국 다큐멘터리 영화들의 괄목할만한 변화 속에서 다큐멘터리 혹은 실험영화로서 분류하기에 쉽지 않은 영화들이 출현하고 있다. 이러한 영화들은 특히 감독의 주관성을 전면에 드러내는 보이스오버(voiceover)를 사용하되, 느슨한 서사 구조의 안팎을 넘나들며 주제와 소재에 대한 감독의 사색과 논평을 담보로 하여 자기 반영적 성찰의 여정을 제시한다. 기존 장르 관습을 배격하는 것이 아니라, 장르 관습을 차용하다가도 전복하기도 하는 초월적 특징(transgression)을 가지면서 이들만의 고유한 영역을 점유하고 있는 이러한 영화들을 ‘에세이 영화(essay films)’라 구분할 수 있다. 본 논문은 문학에서 에세이의 정의를 먼저 구한 후, 시청각 매체로서 에세이 영화가 갖는 특성을 살펴본다. 또한 기존 다큐멘터리나 아방가르드 영화와 에세이 영화가 가지는 상관관계를 살펴 에세이 영화만이 가진 고유한 위상을 제시한다. 박경근 감독의 2014년 작 <철의 꿈>이 가진 강렬한 주관성, 혼종적인 시청각 요소를 사용한 변증법적 몽타주, 어떠한 장르에도 부속되지 않는 장르 초월성에 주목하여, 에세이 영화의 정체성을 고찰한다. 결론적으로 장르를 넘나들며 진화하는 능동태의 영역으로서 에세이 영화를 정의하고, <철의 꿈>을 비롯한 에세이 영화의 정체성을 가진 영화들의 등장과 함께 영화에 대한 인식의 양상 또한 유연하게 확장되기를 기대하고자 한다. In Korea there have been numerous films since the late 2000s that cannot be easily sorted into certain existing film genres. These films use a technique known as voiceover, expressing a director cannot be easily sorted into progressing within and without a strong narrative structure, they offer the director's self-reflective journey to the audience through her/his meditations and comments on the subject of the film. They embody the characteristics of genre transgression within their rhetoric and aesthetics. As a unique territory and mode, these films can be classified as 'nto cteristics of gpaper initially examines the definition of an essay in literature and then investigates the attributes of essay films as an audio-visual medium. In addition, the paper presents an innate status of essay films by looking into the relationship between these films and different genres, such as documentaries and avant-garde films. In order to explore the identity of essay films, the paper analyzes A Dream of Iron (directed by Kelvin Kyung Keun Park, 2014) by focusing on the director's subjectivity and dialectic montage as achieved by articulating both diverse auditory and visual elements, as well as its transgressing energy. In conclusion, while transgressing all genres, essay films constantly evolve their own territories and modes. Additionally, it is suggested that the condition of watching and categorizing films will evolve as well, along with the active practice of the creation of essay films in Korea.

북한 전쟁영화와 기록영화 속 미국(군) 표상 연구: 6⋅25 전쟁과 그 전후(前後) 시기를 중심으로

이현중 한국영화학회 2020 영화연구 Vol.- No.84

North Korea has re-regulated the concept of the Korean War as a “great fatherland liberation war” since the UN forces’ deployment to Korea. It is a symbolic term that gives a glimpse into the North Korea’s hostile attitude toward the United States. It is also why the expression of the U.S. and U.S. troops is interpreted meaningfully in North Korea’s war films. Of the North Korean films dealing with the “great fatherland liberation war,” the most propagandizing films are, of course, war films produced during wartime. North Korean Worker’s Party emphasized its fight against U.S. imperialism through the films. The films clearly reveal their ideological aims based on hostility toward the United States. In those films, the United States inevitably takes on the role of antagonist. North Korean war films can be divided into documentaries and art films(feature films). The United States is represented by the image of a harsh aggressor on both sides. What’s interesting is that the U.S. expression varies in detail depending on the format or narratives of the films. There are also some differences in the expressions of scenarios and real movies. In the documentary, they accuse the U.S. military of inhumane acts such as massacre of civilians and bacterial warfare. Mainly depicted in the documentary are the North Korean people as the victims. The U.S. exists as a perpetrator. The actual appearance of the U.S. military in documentaries is not so much. However, the more distressed the North Korean people, the more negative the image of the U.S. military is. On the other hand, the real U.S. military appears as a reality in art films(feature films). They represent the image of an immoral and brutal absolute evil. However, depending on the rank of the North Korean protagonist, the U.S. military’s expression may change. It also attempts to dramatize the negative image of the United States as a cinematic expression. It is a very typical cinematic expression and also a formalistic feature. In response, this study attempts to make a cinematic interpretation of the U.S. image in North Korean war movies. 북한은 연합군의 한반도 투입 이후 한국전쟁의 개념을 ‘조국해방전쟁’으로 재 규정했고, 이 인식은 현재까지도 이어지고 있다. 이는 미국에 대한 북한의 적대적 태도를 엿볼 수 있는 상징적 용어이자 개념으로서 당대 북한의 전쟁영화에서 미 국과 미군에 대한 표상이 의미 있게 해석될 수 있는 중요한 이유가 된다. ‘조국해 방전쟁’을 다룬 북한의 영화들 중 선전성이 가장 짙게 나타나는 영화들은 당연하게도 전시에 제작된 전쟁 소재 영화들이다. 북한의 조선노동당 지도부는 영화를 통해 미 제국주의와의 투쟁을 강조하며, 미국에 대한 적개심을 바탕으로 하여 조 직 통합을 위한 목적성을 선명히 드러낸다. 해당 영화들에서 미국(군)은 필연적으 로 적대자의 역할을 맡는다. 전시에 전쟁을 다룬 영화는 크게 기록영화(다큐멘터 리)와 예술영화(극영화)로 나눠 살펴볼 수 있는데, 미국은 그 모두에서 가혹한 침 략자의 이미지를 드러낸다. 흥미로운 것은 세부적으로 영화의 형식이나 내러티브 양상에 따라 미국의 표상이 세밀하게 차이를 드러내거나 시나리오와 실제 영화 적 표현들에서 약간의 간극이 발견되는 지점들이 있다는 것이다. 기록영화에서는 미군의 민간인 학살, 세균전 자행과 같은 비인도적 행위들을 전면화시킨다. 기록 영화들에서 주로 묘사되는 것은 피해자인 북한 주민들이며 미국은 가해자인 그 상대자로서 존재한다. 기록영화 내 미군의 실제 등장은 제한적이지만 피해자인 북한 주민들이 괴롭게 그려질수록 미군에 대한 부정적 이미지는 강화된다. 반면 예술영화에는 실제 미군이 실체로서 등장한다. 이들은 부도덕하면서도 잔혹한 절 대 악의 이미지를 표상한다. 다만 프로타고니스트에 해당하는 북한인 주인공의 계급이나 지위에 따라 강조되는 미군의 표상이 달라지는 모습이 발견된다. 또한 영화적 표현들로서 미국의 부정적 표상을 극화시키려는 시도들이 엿보이는데, 이 는 매우 전형적인 영화적 표현들임과 동시에 때로는 형식주의적 특징을 드러내 고 있기에 당시 형식주의 타파를 외치던 당의 지침과 관련해 흥미롭게 살펴볼 수 있는 지점이 된다. 이에 본 연구는 미국의 표상을 영화적으로 관찰할 수 있는 특 징적인 작품들을 중심으로 이에 대한 영화적 해석을 시도한다.

Laser-induced Doping of Aluminum into a Cadmium Telluride Thin Film: Electrical and Optical Properties

김남훈,Kuk Do Myung,조금배,이우선 한국물리학회 2012 THE JOURNAL OF THE KOREAN PHYSICAL SOCIETY Vol.60 No.3

The electrical properties of cadmium telluride (CdTe) thin films are essentially determined by the doping process; the laser-induced doping method was chosen to dope aluminum (Al) as a donor into CdTe thin films to perform a selective and controllable doping process for multilayer structured photovoltaic devices. The laser-induced doping of Al used a helium-neon (He-Ne) laser (632.8 nm)to expose sputtering-deposited p-type CdTe thin films after they had been annealed at 400 C for 1 hour. The Auger electron spectroscopy depth profile showed better doping uniformity for longer exposure to the time of He-Ne laser in the doping process. The conductivity of the CdTe thin films was changed from p-type to n-type once the doping of Al was performed. The optical band gap energy of the CdTe thin films decreased from 1.451 eV to 1.418 eV after 10 minutes of Al doping. The average absorbance value of the CdTe thin films improved from 1.58 to 1.72 by doping with Al due to impurity-scattering via the doped Al atoms in the CdTe thin films. The resistivity of the Al-doped CdTe thin films was reduced significantly from the order of 104 -cm to the order of 10.6 -cm after only 1 minute of exposure. The carrier concentration of the CdTe thin films increased to a maximum value of 1.2 × 1021 cm.3 after a 10-minute exposure to the He-Ne laser. The laser-induced doping of Al into CdTe thin films is a very simple and effective method to dope a multilayered thin-film solar cell with a relatively short process time, no wet-process, and selective treatment to control the conductivity type, the optical band gap energy, the absorbance, the carrier concentration, and resistivity of the thin films. The electrical properties of cadmium telluride (CdTe) thin films are essentially determined by the doping process; the laser-induced doping method was chosen to dope aluminum (Al) as a donor into CdTe thin films to perform a selective and controllable doping process for multilayer structured photovoltaic devices. The laser-induced doping of Al used a helium-neon (He-Ne) laser (632.8 nm)to expose sputtering-deposited p-type CdTe thin films after they had been annealed at 400 C for 1 hour. The Auger electron spectroscopy depth profile showed better doping uniformity for longer exposure to the time of He-Ne laser in the doping process. The conductivity of the CdTe thin films was changed from p-type to n-type once the doping of Al was performed. The optical band gap energy of the CdTe thin films decreased from 1.451 eV to 1.418 eV after 10 minutes of Al doping. The average absorbance value of the CdTe thin films improved from 1.58 to 1.72 by doping with Al due to impurity-scattering via the doped Al atoms in the CdTe thin films. The resistivity of the Al-doped CdTe thin films was reduced significantly from the order of 104 -cm to the order of 10.6 -cm after only 1 minute of exposure. The carrier concentration of the CdTe thin films increased to a maximum value of 1.2 × 1021 cm.3 after a 10-minute exposure to the He-Ne laser. The laser-induced doping of Al into CdTe thin films is a very simple and effective method to dope a multilayered thin-film solar cell with a relatively short process time, no wet-process, and selective treatment to control the conductivity type, the optical band gap energy, the absorbance, the carrier concentration, and resistivity of the thin films.