해방 직후 제작된 북한영화와 한국전쟁으로 인한 변화

김승경 ( Seung Kyung Kim ) 한양대학교 대학원 논문집(영화학과) 2006 시네마 Vol.2 No.-

Cinema in North Korea is in the core of political propaganda of the government, which is a representative character of socialist system that uses the genre for confirming public propaganda, ideology and the justification of the government. The labor party of North Korea has a direct control on the cinema as other socialist countries and as a result, movies are produced as a core of the politics. Thus, it is inevitable to have a close look at the process of North Korean society from the political aspect. As the liberation of the Korean peninsula in 1945, the Soviet Union army stationed at the North Korea. Their objective was to expand socialist power in the peninsula at the same time with to prevent the establishment of anti-Soviet Union government. Movies made by the Soviet Union were shown in diverse areas and massive amount of resources were backed to support the development of cinema. Kim Il Sung, who was in close relationship with the Soviet Union, was put in front and victories earned by him against Japan, such as Bocheonbo combat, were strongly emphasized. The first North Korean government was established in 1948. Since then, the first movie `My Hometown` was produced in 1949. `My Hometown` was made with combined efforts of talented professionals ran from the South Korea and advanced equipments. It was the first North Korean cinema which combined socialism with nationalism. As the Korean War broke out, Kim Il Sung commanded the manufacture of artworks that can motivate the public to participate the war. More efforts were put on the manufacture of anti-American artworks that can revoke undisguised hates against Americans. As a result, North Korean cinemas of the time shared the same theme; the socialist patriotism and the public patriotism that makes hero of the sacrifice of their soldiers and motivates victory of the war. From its first artwork, North Korean cinema was originated with the limitation that it had to be the reflection of the government policy and the public propaganda. Though, initially, it was able to carry the delicacy of montage and variety of characters. However, more advancement of the genre was prevented as the Korean War forced it to focus only on political ideology with heroic and standardized characters.

학제간 학문으로서의 여성학

김승경(Seung-kyung Kim),이나영(Na Young Lee) 한국여성학회 2006 한국여성학 Vol.22 No.1

1982년 이화여자 대학교에 석사과정이 개설된 이래 한국의 여성학은 대학의 안과 밖에서 괄목할만한 성장을 거듭하였다. 2005년 현재, 12개의 대학원에 여성학 석사과정이, 4개 대학에 박사과정이 개설되어 있으며, 전국 대부분의 대학에 교양과목이 개설되어 있을 정도로 제도적 정착에 ‘성공’하였다고 평가되고 있다. 이는 학문적 영역뿐만 아니라 사회전반에 걸친 가부장적 헤게모니에 도전하고 이를 변화시키고자 하였던 여성주의자들의 치열한 문제의식과 도전 및 실천에 기인한다. 그렇다면 서양의 어느 나라에도 뒤지지 않는 30여년의 역사를 지닌 여성학이 분과학문으로서 한국 사회에 굳건히 뿌리 내는데 성공했다고 자평할 수 있을 것인가? 여성학(과)이 직면하고 있는 외부적 도전과 내부적 문제는 무엇이며, 여성주의자들은 여성학의 정체성을 어떻게 규정짓고 옹호할 것인가? 본 논문은 위와 같은 문제의식 하에 미국 여성학과의 현황 및 간학문성 (interdisciplinarity)에 대한 논쟁을 살펴 본 후, 한국 여성학의 현황과 도전들을 분석하면서 여성학(과)의 존재의 당위성과 정당성을 찾아보고자 하였다. 결론적으로 학제간 연구를 하는 분과학문(interdisciplinary discipline)으로서 여성학의 제도화는 그 동안 여성주의의 발전을 방해해 왔던 정치적, 구조적, 인식론적 요인들을 분석하면서 당면한 도전을 극복하게 하고, 궁극적으로 여성주의(feminism)라는 간학문적 사명을 실현시킬 수 있는 필요조건임을 역설하고자 한다. Following the first offering of graduate courses at Ewha Womans University in 1982, Women’s Studies in Korea has made tremendous progress both within and outside of academy. Nationwide, as of 2005, there are 13 M.A. granting programs and 4 Ph.D. granting programs; and furthermore, most colleges and universities offer the introductory course in Women’s Studies as an elective. This successful institutionalization demonstrates the rapid spread of “feminism” within Korean society as a whole. In this paper, we ask the following questions: first, has Women's Studies been a success within the academy?; second, what is the identity of Women’s Studies and what are some of the current issues and challenges facing Women’s Studies?; and third, what will be the future direction of interdisciplinary discipline of Women’s Studies in Korea? In answering these questions, first, we provide a survey of the current situation in Women’s Studies and the debates about the issue of interdisciplinarity in the U. S.; second, we suggest a rationale for the existence of Women’s Studies after analyzing present conditions and challenges to Korean Women’s Studies. In conclusion, we argue that the institutionalization of Women’s Studies as an interdisciplinary discipline is an essential pre-requisite for realizing feminism.

비판적 지역학으로서의 북미 한국학 ―사회과학의 사례를 중심으로

김승경(Seung-kyung Kim) 역사비평사 2021 역사비평 Vol.- No.134

The question of “how to define Korean Studies as an academic field” brings up both epistemological and methodological issues, and has been contentious among scholars in Korea. This article on Korean Studies in North America engages with this ongoing discussion about where Korean Studies belongs within the academy, and how it connects to the overarching disciplines of humanities, social science and area studies. In North America, most humanities scholars in fields such as literature, history, and philosophy teach in departments related to East Asia if that is their regional focus. This regionalization makes sense given the centrality of the sophisticated language skills that these fields require. Social science scholars, however, tend to be housed in disciplinary departments, such as anthropology, economics, political science or sociology. So while area studies departments are interdisciplinary and defined by their focus on “particularity”, social science departments work within disciplinary boundaries and strive for “universality.” In considering how North American Korean Studies scholars in social science fields have fared over the past decade, this article advocates “Critical Area Studies” as an alternative to reestablish Korean Studies in North America as a discipline committed to particular-empirical knowledge production as well as to universal-theoretical intervention.

문화연구를 통해 본 90년대 한국영화의 이데올로기와 정체성 -<결혼이야기>와 <서편제>, <쉬리>와 <공동경비구역 JSA>를 중심으로-

김승경 ( Seung Kyung Kim ) 한양대학교 현대영화연구소 2008 현대영화연구 Vol.4 No.2

The definition of culture changed over time due to new meanings being added to it in each era. In the modern era, culture is defined rather broadly, as a spiritual, intellectual product created by men who have a civilization that has escaped primitivity. This vague definition of culture makes defining Cultural Studies difficult. Thus instead of looking at cultural studies as a new or independent field of study, it is considered as an interdisciplinary field including various academic interests and research methods. As with other modern theories, cultural study has its roots in the established grand discussion, being affected by it and criticizing it. Cultural materialism, an offspring of Marxism, criticizes the relationship between structure and superstructure, claiming that they exercise overdeterminative regulation over each other. L. Althusser said that the mechanism created through overdetermining is ideology, and that the ceaseless struggle of ideology forms the core. Structuralism analyzed texts and tried to find a universal, specific principle that created meanings within the text. A. Gramsci stated that ideology constantly changes and continues to struggle in order to obtain hegemony by getting the general public`s consent. Culturalists also focus on the culture of the governed, who were left out of the established studies, changing the focus of cultural studies to mass culture. Cultural studies began as a result of such traditional, established studies with Stuart Hall in the center. After analyzing media, he stated that media simultaneously reflects and creates ideology. Thus the recipient uses dominant-hegemonic position, negotiated codes, and oppositional codes to decipher ideology shown by the media. Also within the massive trend of globalization in the modern world, a fusion of global and local cultures took place, and Hall said people today are experiencing a new diaspora. The methods used in the cultural study of ideology, identity and diaspora can also be applied to Korean film. The Korean films analyzed through cultural studies in this paper show the unstable identity of the 1990s. The current society is a post-modern one where the subject is lost, fragmented and actuality coincides chaotically with virtuality. Media is most influential to the general public and reflects their intentions best. Thus cultural studies that focus on media must grow further.

자본의 다양화와 투자사의 영역 확장 -새로운 자본의 유입과 역할을 중심으로-

김승경 ( Seung Kyung Kim ) 한양대학교 현대영화연구소 2014 현대영화연구 Vol.10 No.3

The government-led paradigm of Korean film industry began to change when the US had asked the full-fledged movie market opening in the end of 1984. In 1988, the direct distribution of foreign film was allowed, and despite this change in the market led to the activation of the market itself by increasing the accessibility of audiences to foreign films, the quality of Korean films was degenerating because the reinvestment of box-office profits was not possible any longer. In the meantime, a robust increase in the video industry provided a groundwork for entering the film industry of manufacturing-based big enterprises which mainly had produced electronic products such as Samsung, LG, Daewoo, for the purpose of dissemination video player. In the beginning, these enterprises were involved only in financing and distribution, however, since the mid-1990s, they began to participate directly in making films by establishing their own film production companies. Unfortunately, no company could earn a profit by a movie investment until the mid-1990s. In addition, due to the IMF crisis, electronics-based enterprises were to withdraw from the film industry. On the other hand, venture capital firms and CJ which was a food and drink company took an interest in film investment. After 2000, there emerged three different types of investors depending on their investment approaches: Strategic investors, financial investors and public investors. Around 2005, when Cinema Service, aboriginal capital of Chungmuro, collaborated with CJ and other small and medium-sized investment companies were on the mergers and acquisitions, the differences of types of investment became apparent depending on their subject of interest. And then, the mobile carriers such as SK telecom and KT began to enter the industry. The period of buoyancy of Korean film market followed the appearance of mega hit films with 10 million-viewers like <the Host>. However, not every view was positive on this buoyancy: it was the bubble to burst. Some pointed out problems in the imprudent government policies and the ticket discount marketing strategy associated with the mobile carriers or credit-card companies. Even in 2013 recorded the highest return on investment in Korean films, the issues such as unfair contractual practices in the market were still raised. Now, it is hard to cover the film production costs without the investment of big enterprises. But there were pros and cons to the role of the big enterprises in Korean film industry. Each field in the film industry must find ways of ‘win- win’, rather than shift the responsibility to others.

1990년대 한국영화의 성장 배경

김승경 ( Seung Kyung Kim ) 한양대학교 대학원 논문집(영화학과) 2005 시네마 Vol.1 No.-

증례 : 혈액종양 ; Erlotinib과 Warfarin의 동시 투여로 PT-INR이 연장된 1예

김승경 ( Seung Kyoung Kim ),박경선 ( Kyung Seon Park ),최승화 ( Seung Hwa Choi ),변재호 ( Jae Ho Byun ),우인숙 ( In Sook Woo ),한치화 ( Chi Hwa Han ),김효림 ( Hyo Lim Kim ) 대한내과학회 2011 대한내과학회지 Vol.80 No.6

향후 활동성이 저하된 진행성 비소세포폐암 환자에서 EGFR TKI 표적치료제와 와파린을 병용하는 사례가 더욱 증가할 것으로 예상되므로 이들 약제의 잠재적인 상호작용을 고려하여 INR의 변화를 주의 깊게 관찰해야 하며 필요한 경우에는 와파린의 용량을 조절해야 한다. Erlotinib, an orally active epidermal growth factor receptor (EGFR) tyrosine kinase inhibitor (TKI), is indicated for EGFR mutation-positive patients with poor performance status. Erlotinib is also used as a second-line agent in patients who show disease progression after failure of first-line therapy. Warfarin is administered in patients with advanced cancer for the prevention or treatment of venous thromboembolism. Both erlotinib and warfarin are metabolized in the human liver primarily by the CYP3A4 enzyme system. Thus, erlotinib may inhibit the metabolism of warfarin and clinicians should pay attention to the possible interaction between the two drugs when they are administered concurrently. We report the case of a 50-year-old man who showed changes in the prothrombin time-international normalized ratio (PT-INR) after coadministration of erlotinib and warfarin. (Korean J Med 2011;80:729-733)

1. 기획논문: "한국영화 7선" 2015년 한국영화를 말하다 : 역사와 기억의 사이: 영화 < 암살 >

김승경 ( Seung Kyung Kim ) 한양대학교 현대영화연구소 2016 현대영화연구 Vol.12 No.1

한국에서 일제강점기를 바라보는 시선은 특별하다. 일제강점기는 시간적으로 지나간 역사이지만 여전히 해결되지 않은 문제들이 잔존하는 ‘과거가 되지 못한 역사’로 존재한다. 곧 한국인에게 그 시기는 해결되지 않은 과거이자 현재이다. 결국 일제강점기를 바라보는 시각은 문자화된 역사와 현재 한반도 안에 여전히 존재하는 근대의 공간을 통해 시각화된 기억이 공존하는것이다. 그래서 이 시기를 다룬 영화들은 대부분 ‘독립의 문제’라는 거대역사에 묶여 자유로운 상상력을 발휘하지 못하였다. 영화의 결말에서 주인공이 ‘사실은’ 독립군이었다거나, ‘갑자기’ 독립운동에 투신함으로써 설득력을 얻지 못하였다. < 암살 >은 이전 영화들과는 다른 전략을 구사한다. 오히려 ‘독립’의 문제를 전면에 내걸고, 역사 속에서 알려진 인물과 잘 알려지지 않은 인물 속에 가상의 인물을 배치시킨다. 또 알려진 사건과 가상의 사건을 교차시키면서 알레고리를 형성한다. 이를 통해 관객은 제3자적 입장에서 변화하여 일제강점기를 바라보는 목격증인으로서 영화텍스트에 한걸음 다가간다. < 암살 >은 간도참변을 일으킨 주인공이자 1930년대 조선주둔군 사령관인 카와구치 마모루와 친일파 강인국의 암살사건을 중심으로 전개된다. 김구의뜻에 따라 암살단으로 선발된 안옥윤과 최덕삼, 속사포는 상하이를 거쳐 경성에 도착한다. 암살 작전에는 성공하지만 일본의 밀정이었던 염석진의 밀고로 안옥윤을 제외한 암살사건 가담자들은 모두 죽게 된다. 시간이 흘러 1949년 염석진은 경찰고위직으로 여전히 승승장구하고, 반민특위 재판에 회부되었다가 증거불충분으로 풀려난다. 해방이 되었지만 친일의 문제는 해결되지 않고, 결국 독립군 안옥윤의 손으로 친일파 염석진을 죽이면서 영화는 끝난다. 이 영화는 1911년과 1933년, 1949년 세 시기를 배경으로 하고 있지만, 주로 1933년을 배경으로 진행된다. 이 시대의 공간을 구성함에 있어서도 이전영화들과는 차이점을 보인다. 1930년대 모더니티로 가득 찬 경성의 모습을 매혹적으로 보여주며 판타지를 심어주는 대신, 만주-상하이-경성이라고 하는 세 개의 다른 공간을 활용하였다. 만주는 일본군과의 전면전도 가능한 무장독립군들의 근거지로, 상하이는 일본의 영향력이 상대적으로 약해 잠시나마일상의 낭만이 실현될 수 있는 공간으로, 경성은 모더니티로 포장된 세상임을 보여준다. 경성의 민낯은 쉽게 저항할 수도 없는 강압적 지배의 상태이자조선인들이 살아내야 하는 현실이다. 이 영화의 인물들은 일본에 의해 가족이 죽임을 당하기도 하고, 친일에 앞장 선 가족을 스스로 죽이기도 하고, 일본에 의해 자신이 죽음에 이를 수도 있는 극한의 공포를 겪기도 하였다. 일제강점기로 인해 아픔을 겪었지만 그결과 독립군, 살인청부업자, 독립군을 가장한 밀정으로 각각 다른 길을 택하였다. 암살 사건을 통해 누군가는 아픔을 극복하고 성장하였고, 누군가는 자신의 과거를 합리화하기 위해 더 잔인해 졌다. 이 영화의 캐릭터들은 사건에 묻혀 버리지 않고, 성장하는 주체로서 영화를 이끌었다. 또한, 이 시대의 문제를 단순히 지배와 피지배, 일본인과 조선인이라는 이분법만으로는 설명할 수 없다는 점을 상기시키며, 영화의 공간과 인물을 통해 일제강점기를 현재의 시점에서 어떻게 바라볼 것인가에 대한 질문을 던진다. 더 나아가 그 시대를 살았던 사람들을 ‘기억’하고, 그 시대를 바라보는 새로운 시선의 가능성을 제시한다. Japanese colonial occupation is not only a resolved past but a vivid present to Koreans. So the films dealing with this period are mostly tied to the gigantic history, so called’the issue of independence’, not leading to free imaginations. However, at the end of the movies heroes are in fact resistants or commit themselves to independence movements, which makes it hard to convince the viewers. Assassination has a strategy different from those previous films. It, rather, emphasizes the problem of’independence’, placing an imaginary person among other well-known and also unknown historic figures. In addition, mixing the known events and fictional events helps form an allegory. This changes the audience from multilateral third persons to witnesses of the Japanese occupation and helps approach one step closer to the movie texts. Even in the configuration of the space of this age, this movie shows a difference from the earlier films. Instead of instilling a fantasy by furnishing Kyungsung as a fascinating city full of modernity in the 1930s, the movie utilizes three different spaces, Manchuria Shanghai and Kyungsung. Manchuria works as a home to the armed independence forces ready for a full-scale war with the Japanese, Shanghai is a city where Japan’s influence is relatively fragile so that everyday romance can be realized, and Kyungsung is a hard-packed world of modernity. The real unfurnished face of Kyungsung is the reality where Chosun people should survive the rigid and oppressive domination of the state not resistable to ordinary people. Assassination asks a question about how we will see the Japanese occupation through space and characters of the film. Furthermore, the audience can remember people who lived that era and be provided with the possibility of a new perspective to that era.

1980년대 이산가족 영화에서 드러나는 가족주의 양상

김승경 ( Seung Kyung Kim ) 한양대학교 동아시아문화연구소 2013 동아시아 문화연구 Vol.55 No.-

한국전쟁으로 인해 한국사회는 이전 어느 시대에도 겪지 못했던 변화를 겪었다. 한마을이 갈라지고, 형제가 갈라졌으며, 수많은 이산가족들이 생겨났다. 수많은 외국군대가 전쟁에 개입했고, 피부색이 다른 사람들과는 우방이 되고, 같은 민족은 적군이 되는 현실에 직면하게 되었다. 해방이 되고 남과 북이 서로 다른 이데올로기 속에서 총부리를 겨누면서 전쟁으로 인해 생겨난 많은 문제들은 해결되지 않은 채 오랜 시간이 흘렀다. 그중에 하나인 이산가족의 문제도 수면으로 드러나지 못하다가 1983년 KBS 이산가족 찾기 방송을 통해 TV는 가족들의 상봉장면을 감정적으로 제시하기 시작하였다. 나라는 눈물바다를 이루었으며, 전쟁의 상처는 완벽하게 봉합되는 것처럼 보였다. 하지만 이 시기에 이산가족 ``찾기``이면에 있는 30여 년 동안 서로 떨어져 다른 삶을 살아온 사람들이 그저 ``혈연적 가족``이라는 이름으로 다시 만났을 때, ``찾기``가 현실이 되었을 때 ``살기``가 가능할 것인가에 대한 문제의식을 가진 몇 편의 영화들이 등장하기 시작하였다. 이 영화들은 전쟁의 종식이 아닌 멈춤이라는 불안정한 휴전의 상황이 지속되면서 전쟁으로 생겨난 문제들을 해결하고 못하고 한 세대가 흘러버린 80년대 중반 현재의 시점에서 가족과 민족, 국가의 개념의 변화에 대해 직접적인 발언을 하고 있다. One of the problems caused by the Korean war that still persists today is the problem of separated families. It was not mentioned in the movies until KBS started airing programs that sought out separated family members, as only after the broadcasts did the topic appear in fiction and movies. However, it was not mentioned along the war which has long become history, instead focusing on the ``family`` that were separated during the war and have already lived over three decades in entirely different environments. It broke the illusion created by the emphasis on ``finding`` separated family members, but relating the stories of ``living`` as separated families. These four movies are about the restoration of families that were physically separated because of the war and have lived in separation due to the armistice. <The Winter That Year Was Warm> and <Kilsodeum> show how strong patriarchal families collapse and fathers lose their patriarchate. They also show that the traditional families, based on kinship, have taken on another meaning coming from social status, slowly transforming from the absolute to the more relative social entities. Although families in terms of kinship, if they have drifted apart and became different through separation, they can only become a true family after acknowledging each other and calling each other family. These two movies also show the darker side of capitalism and the changing society of Korea, namely the increasing gap between the rich and the poor during the high-growth industrialization period from 1960 to 1970. At the same time, the movies also point out the unsolved problems brought by the pause of -not the end of- the Korean War and the changing concepts of family, ethnicity and nation in the mid 1980s when a generation has passed already.

1990년대 기획영화 탄생의 배경과 요인 연구

김익상(KIM, Ik-Sang),김승경(KIM, Seung-Kyung) 동국대학교 영상미디어센터 2017 씨네포럼 Vol.0 No.27

25년 전인 1990년대 초반 까지만 해도 영화산업은 시장규모나 영향력에 있어 대기업이 참여하기엔 상업성이 취약하고 작은 규모의 시장이었다. 그러나 지금 한국영화는 국내시장을 지배하는 것은 물론 세계적으로도 중요한 위치를 차지한다. 그 사이에 무슨 일이 일어났는가? 이런 일이 가능했던 영화계 내부의 요인은 무엇인가? 본 논문은 〈결혼이야기〉(김의석, 1992)와〈미스터 맘마〉(강우석, 1992)라는 두 편의 영화를 통해 이를 추적한다. 한국영화의 제작자본이 1970년대까지 극장주와 지방흥행사의 입도선매 자금 방식에서 어떻게 1980년대 이후 대기업의 비디오 선 판매 대금 방식을 거쳐 대기업의 제작비 직접 투자까지 변화하였는가를 설명하고, 다른 한 측면으로 영화 기획자로서의 존재감이 미미했던 당시에 젊은 영화인력들이 어떻게 한국영화계에 프로듀싱의 개념을 도입하고 이를 실천하여 관객의 호응을 끌어냈는가를 밝히고 있다. 이 두 영화를 계기로 한국영화에는 자본과 인력 양면에서 본격적인 세대교체가 시작되었고 마침 한국사회 전반에서 시작되던 민주화, 표현의 자유, 시장성장, 국민의 문화적 욕구 증대라는 변화의 바람과 맞물리면서 2000년대 초반까지 한국영화계의 성장이 이어졌다. 본 연구는 과거와 현재 한국영화산업의 작동원리를 규명하는 많은 연구들 사이에서 상대적으로 주목받지 못했던 1990년대 초반 기획영화의 출현 배경에 주목하였다. 당시 실제이 영화들에 참여했던 기획자, 제작자, 투자담당자들의 인터뷰를 병행하여 젊은 영화인들의 기획 방식과 대기업 자본과의 협력 과정과 의미를 밝혀내고 있다. Korean film industry is currently dominated by major conglomerates such as CJ, LOTTE, SHOWBOX, etc., creating such MAJOR STUDIO. However, going back to 25 years ago, until the 1990s, the film industry was too vulnerable and small-sized for major companies to participate due to its market size and influence. Not only Korean films are now ruling the domestic film market but also it takes a leading place worldwide. What happened between the decades? How was the budget for the movie production obtained? and what did the players do? This paper traces the previous questions through the two movies The Marriage Life(1992) and Mister Mama (1992). The purpose of this study is to show how the movie production cost of a Korean film in the 1970s changed from pre-paid production money between theater owner and local distributor to major conglomerates" direct investment, going through the pre-paid video right acquisition in the 1980s. Meanwhile, this study investigates how young filmmakers introduced the concept of producing to the Korean film industry at the time when a producer"s presence was insignificant and how they practiced the concept to draw cinema audiences" positive reactions. Opportunities coming from the two movies above, Korean films started in earnest to shift in generations and finally Korean film industry continuously grew until the early 2000s coincidently meeting the movement such as democratization, freedom of expression, market growth, and people"s cultural desires in overall Korea society. Through interviewing the actual players at that time, the study reveals the meaning and the truth of emergence of producer"s High-Concept movie in the early 1990s and conglomerates" capital joint, when the movie"s working principles of the past and the present Korean film industry was clarified between many researches.