조선키네마 주식회사의 설립 배경과 몇 가지 논쟁점에 대한 고찰

문관규(Mun, Gwan Gyu) 한국영화학회 2013 영화연구 Vol.0 No.58

The foundation of Cho-sun Kinema Company was based on the commercial success of Cho-sun films that started from the hit of 〈The Story of Chu-hyang〉. In the early history of Korean films, the foundation of Cho-sun Kinema Company built a coexisting system between Seoul and Busan. According to historical records, the foundation capital and the confirmed address have been proved to be as follows; ‘a film production established on July 11<SUP>th</SUP> 1924 at 19 beon-ji, 5 jeong-mok, Busan bon-jeong with the capital of 75,000won and the money due of 18,750.’ Based on my own investigation and an old map, Cho-sun Kinema Company was possibly established at the current address of 19 beon-ji, 5 ga, Jung-gu, Dong-gwang-do, which was known as 5-19, Yeong-ju-dong earlier. The building belonged to Russian consulate that had moved in 1912. Later, the building was used for Russian consulate, Cho-sun Kinema Company, Korea-America club before it was totally estructed during the fire occurred at the train station nearby on November 27<SUP>th</SUP>1953. The reasons why Yoon Baek-nam’s party withdrew from the institute was firstly because they took the responsibility for the box-office failure of films. The second theory is related to conflicts between Cho-sun movie filmmakers and inlanders. The conflicts were made due to habitual sexual harassments of Takasa Ganjou, the manager of Cho-sun Kinema Company, on Korean actresses. The third reason was the passion for Cho-sun’s films. Oral testimonies and related documents show that, on the surface, the reason why Cho-sun’s filmmakers left for Seoul was the responsibility about the failure of film 〈Woon-yeong jeon; The Story of Woon-yeong〉. But the true reason was the desire that Yoon Baek-nam’s party had about producing Cho-sun’s own films. Therefore, the direct cause of the withdrawal was emotional conflicts between inlanders and Cho-sun people. The reason for the slack and collapse of Cho-sun Kinema Company was the lack of working crew caused by the Cho-sun people’s relocation to Seoul. The next reason was financial difficulties imposed by box-office failures. Thirdly, the company failed to overcome the poor distribution environment. Cho-sun Kinema Company has a historical significance because it was a symbolic incident showing the movement of cinematic power from Busan to Seoul, and it also represented the poor environment of the early Korean film industry.

탈프레임 화면구성과 귀소와 치유의 로드무비 -전수일 론-

문관규 ( Gwan Gyu Mun ) 한양대학교 현대영화연구소 2009 현대영화연구 Vol.5 No.1

Jeon Soo-Il`s filmic world is concentrated on decadrage and variation of road movie. His aesthetical style is an extension of a frame and images of ascending and descending through decadrage. It might be from experience of studying abroad and the influence of French Nouvelle Image. His propensity for road movie is caused by space of Sok-cho, his hometown, and Pusan, his residence. While road movie inclines to movements of spaces and changes of characters, <Time Between Dog And Wolf>, Jeon`s film, focuses on the process to identify a different being who does not belong to anywhere. <Himalaya, Where The Wind Dwells> brings to a conclusion a narrative with self-recovery and rehabilitation in the process to deliver an emigrant worker`s ashes. Jeon`s aesthetic style is decadrage or an extension of a frame. Decadrage in his films coincides with the conception of decadrage, Pascal Bonitzer`s term. Decadrage delays a narration, breaks down audience`s view, and goes amiss of right arrangement of a shot. Jeon`s films emphasis view`s vagueness, and maintains continuity with establishing shots and POV shots. However, Jeon`s texts highlight view`s vagueness with emptiness of point of views. It is a mode of shot composition to be well-balanced to presentation of mysterious reality. Another decadrage is an extension of an off-screen space. Off-screen not only lasts on-screen but also contributes an extension of an invisible world. In Jeon`s films, off-screen presents by sound, and exists an authoritative voice about a subject in on-screen. <In With A Girl Of Black Soil>, the character in on-screen hears the voice in off-screen with notification of coniosis and decision of autism. Jeon`s films reveal a propensity for a road movie genre. Even though his itinerary stems from homing instinct, we identify that there is no root in any place for home. But, in <Himalaya, Where The Wind Dwells>, there are a concrete destination and a duty for travel. Also, this film is different to other Jeon`s films in the itinerary of self-recovery and self-reflection. This film is suited for the formular of road movie. Even if Jeon`s start point is from personal existent situation, his films result to an extension of cinematic language through his generic variation and an extension of a frame.

계몽영화 혹은 여백과 고졸(古拙)의 미학 -오점균 론-

문관규 ( Gwan Gyu Mun ) 한양대학교 현대영화연구소 2010 현대영화연구 Vol.6 No.1

Oh Jeom Gyun is a movie director aiming to produce enlightenment films. He has an authorial tendency toward the films which contribute to the progresses of a society. This tendency is expressed through enlightenment films. His enlightenment films have been initiated from a literal concept of enlightenment awakening the youth and the ignorant to the truth and developed into specific theatrical practices about how to change a society and improve human lives by enlightening human rationality. Oh Jeom Gyun`s enlightenment films approach the political vanguard through supporting alternative ideologies. The progressive ideology and the theatrical interest that Oh Jeom Gyun has about enlightening the world are concluded to the ideas of Taoism as a ideological basis and the acceptance of alternative ideologies. His interests and supports to alternative ideologies are expressed in his movies called <Sweety Rain> for alternative education, <The Natural Beings> for ecological agriculture, <How Have You Been, Man-soo> for the issue of North Korean defectors, <Red And Yellow Leaves> for the criticism of Confucian patriarchy and <Throw The Cross Away> for women`s self-discretion on their sexuality. These heavy themes are refined and expressed through the esthetics of space and sophistication & bungling. The esthetic styles of his films are gathered into the beauty of space expressed in Oriental paintings and Lao-tzu`s beauty of sophistication and bungling. The esthetic of blankness emptying and filling a space at the same time acquires the expression of psychological emptiness by putting the scene of unity between the nature and human being aside and a space in the center. The esthetic of sophistication & bungling, represented by a saying `the most sophisticated thing is expressed in the most dishonorable way,` is adopted by expressing ideologies of ecological agriculture and alternative schools. The sophisticated connection between the theme of alternative ideologies and a form of simple expression makes it possible to obtain the esthetic of sophistication and bungling. At the same time, Oh Jeom Gyun has found an escape from the suspicion of amateurism caused by the narrative alienation that nonprofessional actors and animal actors have created in an insert scene. The escape is the esthetic of sophistication and bungling which guarantees the theme in an bungling but sophisticated way. The esthetics of space and sophistication & bungling attract the attention in the filed of Korea independent films as Oh Jeom Gyun`s way to solve their old problems of the lack of theme and the poverty in style.

한국영화운동사에서 ‘영상시대’의 등장 배경과 영화사적 의의

문관규(Mun Gwan Gyu) 동국대학교 영상미디어센터 2012 씨네포럼 Vol.0 No.14

한국영화운동사에서 영화운동은 카프 영화운동과 영화 동맹 운동 그리고 1980년대 독립영화 운동을 들 수 있다. 영화 예술의 회복을 지향하는 운동은 1970년대 영상시대 활동이다. 영상시대의 등장 배경은 첫 번째 유현목, 신상옥으로 대표되는 거장의 영향과 유럽의 아방가르드 운동이 문화적 토양을 제공하였다. 유현목은 영상시대 동인들의 후원자 역할을 하였다. 그의 해외 여행은 한국 아방가르드에 일정한 영향을 주었다. 두 번째는 1970년대의 청년문화는 영화부문에서 국책영화와 대중영화의 시장 지배력에 대한 저항으로써 예술 영화를 표방한 영상시대의 출범으로 표출된다. 세 번째는 유학파 감독을 통한 뉴아메리칸 시네마로 대표되는 뉴웨이브의 영향이다. 하길종과 홍의봉은 미국에서 유학하였으며 하길종의 평론 활동은 뉴아메리칸 시네마에 대한 영향을 입증한다. 영상시대 영화운동은 현실의 압제와 억압에 저항하는 운동이 보다는 영화의 예술화를 표방하는 운동이라는 점에서 여타의 영화 운동과 차별화된다. 한국영화사적 의의는 첫째 영화운동의 맥을 이었다는 점이다. 영화운동은 카프와 영화동맹을 거쳐 1970년대에 영상시대가 등장하였다. 영상시대에 활동한 영화인들이 1980년대 영화운동에 참여함으로서 한국영화운동의 흐름을 이어나갔다. 영상시대가 표방한 한국영화의 예술화와 자국영화의 자생력 회복은 코리안 뉴웨이브로 개화된다. 두 번째는 영화언어에 대한 자각과 예술로서 영화에 대한 성찰을 시도했다는 점이다. 이는 세계영화사의 흐름을 이끌고 온 영화운동과 어깨를 나란히 한다. 세계영화사를 대표하는 사조는 시대정신의 담보와 영화언어의 창출을 두 축으로 한다. 영상시대는 청년 저항 문화와 이를 영화적 언어로 표현하려는 시도를 했다는 측면에서 주목할 만하다. 세 번째는 자국의 영화현실에 대한 성찰과 이를 극복하려는 운동이라는 점이다. 한국영화의 예술화와 산업적 자생력 확보는 모든 시대의 공통된 화두이지만 영상시대선언을 통해 한국영화사에서 처음으로 근본적으로 제기되었다. 영상시대는 이념보다는 예술을 중심에 둔 운동이며 동시대의 정신을 표현하려는 영화적 시도였다. 하지만 새로운 영화 언어의 창출에는 미치지 못했으며 선언적 구호에 머물른 한계를 지닌다. 동시에 30대 흥행 감독이라는 지명도에 의존했다는 점과 개인적인 친분으로 형성한 결사체가 갖는 느슨한 연대감 등은 운동의 동력을 허약하게 하였다. In Korean cinema movement history, KAPF, independent film and film alliance of Korea movement can be examples of the cinema movement. The movement aiming to an improvement on the film art is ‘Young Sang Shi Dae’ effort in 1970s. The advent of Young Sang Shi Dae was affected by ‘You hyun-mok’, ‘Sin Sang Ok’ represented as master directors. In addition, Avant-garde movement provided cultural soil for it. ‘You hyun-mok’ was patron of members of Young Sang Shi Dae. Firstly, his Journey abroad had an impact on Korean Avant-garde consistently. Secondly, youth culture in 1970s was expressed as the advent of Young Sang Shi Dae which claimed art film with resistance to market power of national policy film and general film. Lastly, New wave, typified by New American Cinema, by directors who were studying abroad also had an influence on it. Hah gil jong, Hong ui bong were studying in America and Hah gil jong’s criticism works demonstrated the influence of New American Cinema. Cinema movement in Young Sang Shi Dae was differentiated from other movements, in the way that it claimed to artistic revitalization of film rather than resistant movement against oppression and tyranny of reality. There are Significances in the Korean film history: firstly it was carrying on the cinema movement. Cinema movement appeared in 1970s through the KAPF and the film alliance of Korea. Film makers working in Young San Si Dae kept the flow of Korean cinema movement alive by participating in cinema movement in 1980s. Artistic revitalization of Korean film, restoring self empowerment of Korean film industry that Young Sang Shi Dae claimed brought Korean new wave into flower. Secondly, it realized cinematic language and tried to reflect on the film as an art. This gets abreast of the cinema movement leading the course of world cinema history. Trend which represents the world cinema history centers around a guarantee of the spirit of the age and the creation of new cinematic language. Young Sang Shi Dae is noteworthy in that it tried to express youth resistance culture with the cinematic language. Finally, this movement was to reflect on the reality of Korean film and overcome it. It is common topic of all time to retain artistic revitalization of Korean film and industrial empowerment, but it was brought up fundamentally at the declaration of Young Sang Shi Dae for the first time in the Korea film history. Young Sang Shi Dae was the movement which focused on art rather than ideology and cinematic attempt to express contemporary spirit. It, however, didn’t reach the creation of new cinematic language and remained declarative slogan. At the same time, the power of movement was debilitated by dependence on stature as top 30 hit film directors, a loose solidarity resulting from alliance formed by personal relationship and so on.

어트랙션 몽타주로 조망하는 부산영화의 신파성 연구 -<해의 비곡>(1924)과 <국제시장>(2014)을 중심으로-

문관규 ( Mun Gwan Gyu ) 한양대학교 현대영화연구소 2017 현대영화연구 Vol.13 No.3

신파성은 한국 영화 미학의 정체성을 갖고 있다. 신파성의 개념으로 초창기 부산 영화인 <해의 비곡>에서 최근작인 <국제시장>을 분석한다. 초창기부산영화는 경성과 부산의 영화 제작 환경이 유사했다. <해의 비곡> 제작은 일본 수출에 대한 기대와 관객의 호응을 위해 신파성이 산업적 견인요인으로 호명되었다. 신파는 비평의 담론과 공연성의 측면에서 낡은 형식으로 인해 폄하를 받아왔지만 식민지 시기 대표적인 미감으로 유입되어 한국영화사의 기저를 이루었다. 신파성은 신파적 장면, 신파적 서사, 신파적 결함, 신파적 감정, 신파적 인물이라는 다섯 요소로 세분화할 수 있다. 이 요소들이 상호 견인되어 신파성이라는 미적 태도를 결정한다. 신파성은 유입된 양식에 대한 담론에서 출발하여 역사적 흐름 속에서 변형되어 한국영화사의 기저에 퇴적된 미감으로 정착하였다. 신파성은 한국 신파영화를 어트랙션 몽타주하는 중요한 견인장치이다. 신파적 장면은 가족의 몰락 장면이나 사랑하는 이와 이별이 주를 이룬다. 또한 가족 복원의 성공 순간도 포함되며 <국제 시장>에서 가족 복원에 성공한 주인공 덕수의 위로받는 장면이 대표적이다. 신파적 서사의 대표적 경향은 가족 복원과 수호의 책임을 부여받은 가부장의 성공담과 약자인 여성이 보여주는 인고의 고난사이다. 신파적 결함은 제도적 결함. 도덕적 결함, 경제적 결함으로 나눌 수 있다. 제도적인 결함은 도덕적 결함과 연계되며 일부일처 가부장제 가족주의를 기반으로 한다. 이 결함은 가족제도의 공고화와 경제적 위기 그리고 구성원의 상실 위기 등이 대표적이다. 경제적 결함은 남성의 경제적 무능함으로 인한 여성과의 결별이다. <장한몽>과 <사랑에 속고 돈에 속고>의 유형이 대표적이다. 제도적 결함은 가족 구성원으로 편입 실패와 약자인 여성의 희생 강요로 귀결된다. 도덕적 결함은 순결주의와 일부일처제에 대한 위반과 처벌의 기능을 한다. 신파적 감정은 주인공이 표출하는 감정과 관객의 감정으로 양분된다. 주인공의 감정은 죄의식과 피해의식 그리고 자학과 연민이라는 부정적 감정에 기울어진다. 이를 바라보는 관객은 약자의 고통과 희생에 대해 측은지심으로 연민과 슬픔을 느낀다. 한국 사회에서 경제적으로 무능한 남자와 가족 붕괴를 맞이하는 이에 대한 연민과 이를 복원하려는 가부장의 노력에 대해서는 측은지심 보다는 책임감 강한 가부장의 인고의 자세에 대한 지지와 격려의 감정을 유발한다. 신파적 인물은 사회적 약자와 가부장의 책임의식을 지닌 남성이 대표적이다. 사회적 약자는 경제적 결함을 지닌 인간이거나 일부일처가부장제의 규범을 위반한 여성이 차지한다. <국제 시장>의 주인공 덕수는 희생하는 가부장으로 대표적인 신파적 인물이다. <국제 시장>과 <해의 비곡>은 부산을 배경으로 부산의 정서와 역사를 담아낸 대표적인 부산영화이다, 동시에 신파성이라는 미감을 공유한다는 점도 유사성을 지닌다. 이 두 작품을 통해 신파성이 과거와 미래를 어트랙션한다는 사실과 한국영화 정체성의 기저를 이루고 있음을 입증하였다. ‘Sinpa(新派)’ belongs to the identity of Korean film aesthetics. I’ve analyzed The Tragedy of the Sea from early Busan film era and a recent film, Ode to My Father, with the concept of Sinpa. In the early days of Busan, its cinematic environment was similar to the one of Kyungsung, and movies were at the center of the media. Sinpa was considered as a driving factor for the industry. Sinpa was criticized in terms of criticism discourse and performance, but it flowed into the representative aesthetics in the period of the Shin Minji, and thus forming the basis of Korean film history. Sinpasung can be subdivided into five elements: Sinpa scene, Sinpa narrative, Sinpa flaw, Sinpa emotion and Sinpa character. These elements are attracted to each other and expressed as Sinpasung. Sinpa started as a discourse on an influenced style, was transformed in the historical flow, and settled as a sense of beauty on the basis of Korean film history. Sinpa is the main driving force that makes an attraction montage of Korean melodrama or Sinpa movies. The scenes of Sinpa are related to a fall of a family or separation from loved ones. The narrative of Sinpa is close to the genre formula of Sinpa movies. The typical trend of the Sinpa narrative is attributed to the success and fall of a father who has been given responsibilities for family restoration. Sinpa flaws can be divided into institutional flaws, moral flaws, and economic flaws. Institutional flaws are linked to moral flaws and are based on the monogamy patriarchy. The representative flaws are maintenance of the family system, crisis of economic collapse, and crisis of possible member loss. The economic flaws add up to separation from a woman caused by economic inability of a man. Typical examples can be found in Janghanmong and Deceived by Love, Crying over Money. Institutional flaws result in failure in joining as a family member and sacrifice of a woman who is a weak person. Moral flaws work as breaches and punishments for purity and monogamy. Sinpa emotions are divided into emotions expressed by the main character and by the audience. The main character’s feelings lean towards negative feelings of guilt, victim mentality, self-torture and compassion. The audience feel compassion and sadness for the pain and sacrifice of the weak. Ode to My Father and The Tragedy of the Sea are typical movies that are set in Busan and embody the city’s emotions and history. These two pieces confirm the fact that Sinpa attracts the past and the future and forms the basis of Korean film identity.

오즈 야스지로 영화의 편집 미학

문관규(Mun, Gwan Gyu) 한국영화학회 2014 영화연구 Vol.0 No.62

In Ozu Yasujiro"s films, the family is the main point of his film and the life is contained through the marriage event of the family members. Ozu" style is regulated to the fixed screen, Tatami shot and the same directivity, while the part of edit is evaluated unconcern relatively. Ozu"s edit is characterized "how was the landscape shots played the variation between the one cut and the other cut" and "how was the continuity expanded through the graphic similarity". The first trait of Ozu"s edit is the landscape shot. It is the most representative thing for set screen to play a role like a kind of guide when the shot is shifted from outside to inside. Ozu"s landscape shots are classified to a few types. First, it not only presents the residence space of the main character, but plays a role as bridge connecting a scene and the next scene. Second, it represents the theme of the film indirectly. For example, it shows the circulation and the repetition of the nature in <Tokyo Story> and exposes the repeat of the inside and outside of the space intermediated by passageway in <an Autumn Afternoon>. Finally, it plays a role as the set screen representing the identity of a place. It is the conventional landscape shot. Ozu"s landscape shots perform the customary function of the set screen, present the residental environment of the characters and play the role of bridge for making the narrative rhythm. The graphic similarity changes the scenes through the element of mise-an scene, the element of color and moving and the similarity of the behavior and the composition. The example of shift as similarity of color is the scene connected from the red washing to the red lighting in <Good Morning>. Last, the achievement of the edit"s originality and the extension of representation at the Ozu"s edit style is found in the case shifted to montage of attraction with the continuity through the similarity of the things and the people. If the graphic similarity is maintained by the similarity of form like a shape or a composition, the similarity of the things and the people links artistic Simultaneism wiping away the boundary between the things and the people and Manmuljedong of Jangja"s theory. The shoes arranged neatly represented the image of the an old couple in <Tokyo Story> and the jar was identified with sleeping father in <Late Spring>. These are brought to the top of Ozu"s graphic similarity.

홍상수 영화에 재현된 초현실주의 기법과 꿈 시퀀스 분석

문관규(Mun, Gwan Gyu) 한국영화학회 2012 영화연구 Vol.0 No.51

중국 주선율 영화 연구 : 출현과 분화 양상 그리고 영화적 컨벤션을 중심으로

문관규 ( Mun Gwan Gyu ) 부산대학교 영화연구소 2017 아시아영화연구 Vol.9 No.2

주선율 영화는 사회주의 이데올로기와 애국주의를 인민과 관객들에게 계도하기 위한 창작 원리에 입각해 제작된 영화를 지칭한다. 주선율 영화는 1942년 연안 문예 강좌에서 비롯된 사회주의 예술 창작 지침에 뿌리를 두고 있으며 등소평의 개혁 개방 정책의 연장선에서 주선율이 등장하였으며 영화계에서는 1987년 전국 극영화 창작자 회의에서 비로소 주창되었다. 이는 개혁 개방을 통해 중국의 사회주의와 자본주의 시장 경제의 융합으로 야기된 영화의 대중화에 대한 정치적 경계와 중국 영화 정체성을 지속하기 위한 정책적 판단에서 제기되었다. 그 후 지속적인 분화를 통해 국가 주류영화에 포함된 범주로 분기되었으며 상업 주류영화와 양립하는 구도를 구축하였다. 주선율 영화는 중국영화의 산업화와 국제화 시대에 사회주의 이데올로기와 장르화와 대중성의 가미로 불균질적 텍스트 양상을 보여준다. <영웅>은 무협영화의 협의 정신과 주선율 영화의 중화주의와 다민족 일국 가의 국가 이데올로기가 충돌하며, <공자>는 공자의 학자적인 캐릭터 보다 난세를 헤쳐나가는 영웅이자 지략가의 면모가 혼재되다. 할리우드 고전적 장르 컨벤션의 개념으로 비교해 볼 때 주선율영화의 컨벤션이 자연스럽게 부각되어 정체성이 형성된다 첫 번째는 이데올로기의 차이이며, 두 번째는 할리우드의 등장인물이 심리적 인과관계에 영향을 받는다면 주선율 영화는 역사적 합법칙성에 따라 행동한다. 세 번째는 할리우드의 목표지향성이 서사 견인의 요인이라면 주선율 영화는 역사적 책무와 인물의 애국주의가 스토리를 전개한다. 네 번째는 주인공은 개인적 욕망을 성취하기 위해 노력한다면 주선율 영화의 주인공은 개인적 욕망보다 역사적 소명의식과 국가 이미지 제고와 영웅주의에 충실하다. 다섯 번째는 발단에서 대단원까지 상승적 사다리 구조보다는 역사적 사실성에 근거하여 자막과 내레이션을 통해 서사를 완결하고 역사적 사실을 토대로 다큐멘터리적 사실성에 준해서 연대기적으로 전개된다. Leitmotif films refer to the productions based on the creative principles for edifying socialist ideology and patriotism to the Chinese people and audience. Leitmotif films were rooted Chinese-style socialism under a guideline of art creation originated from the literary lecture of 1942 in Yanan(延安) and it came out from the extension of reform-opening policy of Deng Xiaoping as well, and it was advocated Chinese film industry only after at The national fiction film creation conference(全國故事片創作會議) in 1987. Through reform-opening policy, Chinese government aims to maintain Chinese film identity and strengthen the political boundaries based on the patriotic standard due to the popularization of film caused by the convergence of Chinese socialism and capitalist market economy. In short, the appearance of leitmotif films came from industrial growth of Chinese cinema, alarmed by the popularization of cinema and the intention of enlightenment to the Chinese people through movies. Since then, it has branched included in national mainstream films through continuous eruption and has established a composition that is compatible with commercial films. In the era of internationalization, Chinese cinema shows a heterogeneous textual aspect with socialist ideology, genre and popularity. < Hero > conflicts three categories, the spirit of negotiation, Sino-centrism of leitmotif films and a `Unified Multiracial Nation` of Chinese ideology. < Confucius > describes the Confucian as a hero and a resourceful feature rather than a scholarly character. Compared to the concept of the Hollywood classic genre convention, the convention of leitmotif films that itself are naturally formed. The first is ideological differences, second is that if the character of Hollywood is influenced by the psychological cause-and effect relationship, leitmotif films act depending on historical law. Thirdly, Hollywood goal is that the factor of narrative traction, while leitmotif film story develops historical responsibility and patriotism of the character. Fourth, Hollywood protagonist strives to achieve one`s desire, whereas the protagonist of the leitmotif films tends to devote the strong sense of vocation to history or the commitment to the country rather than personal desires. Finally, leitmotif films are based on historical adequacy rather than the ascending ladder structure from the beginning to the grand stage, and complete narratives make with subtitles and narration to develop chronologically based on historical facts and documentary factuality.

1970년대 실험영화집단 카이두 클럽과 한옥희 감독 연구

문관규 ( Gwan Gyu Mun ) 한양대학교 현대영화연구소 2011 현대영화연구 Vol.7 No.1

In 1970s, Korean film industry was divided into different activities of national policy films, Image Era, Small Film Club and experimental filmmaking groups. Korea Small Film Club, whose identity lies on as pretesting films against Chungmu-ro, was the matrix of Image Era and Khai Du Club. While Image Era led a reform movement of Korean movies through popular movies in Chungmu-ro, Khai Du club did so on Korean experimental movies outside Chugmu-ro. Khai Du Club touched off a radical movement in the form of experimental movies, which was a feminine challenge in the masculinity and popular movie dominating Chungmu-ro. Khai Du blud participated in the youth culture in 1970s with their films. To be the leader of youth-culture film movement, Khai Du Club banded together with Yu Hyun-mok who was leading Small Film Club, and members of Image Era. Their moves had an influence in Korean movie history in a way that they vitalized Korean movie industry, which was shrunk under the censorship, and formed a source towards the film movement in 1980s and Korean New-wave in 1990s. The aspect of cinematic view of Khai Du Club can be appreciated through the pieces of director Han, Ok-hee, the leading director of Khai Du Club. Surrealism had some influence on the cinematic world of Han, Ok-hee, which came from her personal interest and acceptance of literature expanding to Cine Poeme. Moreover, it`s been understood that Lee Ik-tae`s piece and Ha, Gil-jong`s <The Ritual for a Soldier> released in a special show of Imaging Study Group put a certain stimulation and influence on Korean experimental films in 1970s and Khai Du Club. Han, Ok-hee`s experimental films feature the dutch angle, in which images make up a story, montage, where images and sounds collide with one another, or repetitive uses of slow and fast motions. One of her renowned pieces called <The Hole> uses the flicker, oblique angle, the cross cutting of reality and fantasy to express trapped human inner side and the desire for liberation. Han, Ok-hee`s <The Hole>, <The Rope> and <Untitled> played a role as an expansion of the form of expression in experimental films and the artistic protest against the social suppression and censorship in Korea in 1970s. On the other hand, <The Overlap> focuses more on an aesthetic experiment than on political issues, through animation techniques using visual images and frame shooting. Han, Ok-hee has expanded and fructified Korean experimental films while covering the aesthetic vanguard and the political one.

누벨바그 영화에 나타난 파리의 장소성

문관규(Mun, Gwan gyu) 한국영화학회 2020 영화연구 Vol.- No.85

누벨바그는 감독의 발견과 현장의 배경을 강령으로 삼았다. 누벨바그 세대 감독인 고다르와 트뤼포는 누벨바그의 강령을 실천하면서 파리와 장소성을 영화적 미학으로 소환하였다. 장소는 지리적 위치와 인간과 유대를 강화한다. 프랑스와 트뤼포와 고다르는 파리를 배경으로 장소성에 대한 상이한 입장을 보여준다. 트뤼포는 사크레 쾨르성당을, 고다르는 샹젤리제 거리를 선호했다. 트뤼포는 몽마르트 지역과 피갈 광장을 무대로 유년의 기억을 소환했다면 고다르는 라탱 구역과 샹젤리제 거리를 채택했다. 트뤼포의 몽마르트에 대한 애착은 <훔친 키스>와 <400번의 구타>로 수용되어 예술의 뿌리를 내린다. 장소는 개인의 체험을 통해 정신적 애착의 과정을 거쳐서 누벨바그의 영화를 통해 예술적 착근으로 귀결된다. 장소는 작가의 기억으로 1차 소환되어 영화의 프레임에 자리하면서 2차적으로 영화적 미장아빔으로 예술적 지층을 형성한다. 트뤼포는 파리의 장소성 수용으로 유년의 소환과 미학적 효과를 성취한다. 고다르는 국외자의 무장소성을 전면화한다. 고다르는 장소와 인물의 유대를 통한 장소감의 형성 보다 자본에 의해 지배되는 무장소성과 기억의 부재와 유대의 균열로 인한 장소성 상실을 전면화한다. <네 멋대로 해라>의 미셸과 <비브르 사 비>의 나나는 장소감의 결여에 대한 반대급부로 돈과 사랑을 갈구한다. 고다르 영화에서 파리는 박물관화와 획일화라는 타자 지향적 장소성을 표상한다. 장소와 유대의 상실은 인간의 상호 친밀감 부재와 연동된다. 고다르의 작가적 인장인 사랑의 불가능성과 주인공의 죽음은 장소성 상실에 기인한 파국적 결말로 해석 가능하다. 누벨바그의 영화는 파리의 장소성을 소환하여 장소감과 무장소성을 통한 인물의 정서와 서사를 구성하였다. 장소와의 유대를 통한 장소성 회복은 주인공의 정서적 충일과 사랑의 결실을 이루며 장소와의 균열로 인한 무장소성은 주인공의 뿌리내리기 실패와 사랑의 불가능성으로 귀결된다. 파리의 장소성에 대한 영화적 소환은 누벨바그에 또 다른 미학적 성과라는 사실을 고다르와 트뤼포의 초기 작품이 입증한다. Nouvelle Vague made the director’s discoveries and the background of the scene a platform. The directors of the Nouvelle Vague generation, Jean-Luc-Godard and François Truffaut, summoned Paris and the placeness to cinematic aesthetics while practicing the Nouvel Bagh program. The place strengthens geographic location and ties with humans. France, Truffaut and Godard show different positions on placeness in Paris. Truffaut prefers the Sacré-Coeur Cathedral and Godard Champs-Élysées. If you recall your childhood memories on the stage of Montmartre and Pigalle, François Truffaut adopts the University district and the streets of Champs-Élysées. Truffaut’s love for Montmartre is accepted as films 〈Baisers volés〉 and 〈Les quatre cents coups〉, taking root in the art. The place extends from the fixation of mental and psychological attachment to the process of artistic work through the films of Nouvelle Vague. The place is first summoned by the artist’s memory and placed in the frame of the film, and secondly, it is arranged as a cinematic plaster, forming an artistic strata. Trufo achieves the childhood summons and aesthetic effects through the acceptance of the place in Paris. Godard brings foreigners to the frontier. Godard shows the placelessness that is ruled out by capital and the place where memory and ties are excluded, rather than forming a sense of place through the bond between place and person. Michelle and Nana seek money and love as an opposite pay for lack of sense of place. In the Godard film, Paris is a representation of batter-oriented placeness through museumization and uniformization. The loss of place and bond is linked to the absence of human intimacy. Godard’s artist’s seal, the impossibility of love, and the death of the protagonist are associated with the loss of place. The film of Nouvelle Vague summoned the placeness of Paris and composed the emotions and narratives of the characters through sense of place and placelessness. Restoration of placeness through place and ties leads to the emotional fullness and love of the protagonist, and the incapacity due to place and crack leads to the failure of the main character to take root and the impossibility of love. Godard and Truffaut’s early work proves that placeness is another aesthetic achievement for Nouvelle Vague.