대학 영화제작 교육에 대한 연구

어일선 청주대학교 학술연구소 2006 淸大學術論集 Vol.8 No.-

It is not easy to find other instances historically where the quantity of film education has rapidly grown as Korea recently. Despite this quantitative growth, there are problems with school film educations that do not conform to the demand of film business. Therefore, this is the time to reflect what education we need. That is, it is the time to ask questions and find solutions what the education to produce positive futureis. These reflections and effort will be significant for the development of film education as well as for the development of Korean film business. The current problems in the direction and production of film major education is that there is an urgent need for new introduction of programs for educating ability to use system that is based on practice oriented curriculum and digital . technology because of the lack of professors, facilities and materials. I will point out these problems in sequence with examples. First, it is lack of practice facilities and load of production cost. Second, it is lack of professors who has connect ability in the business. Third, it is the lack of connect ability of various routes with film production field. Forth, because of the issue of granting the Korean National University of Arts as a regular college which is monopolizing the national support, the suppαt to general university is lacking. I will make some suggestions on the commercial, governmental and educational level in reference to examples of other countries. First, it is urgent to standardize the production education. Second, various production support forms are needed in the cost saving level. Third, it is necessary to screen and support in distribution of pure creative as short films and independent films. Firth, there is a need for an intership system which could steer the dream after the graduation. Fifth, the student fihn sponsorship funding should be continued in support of various experiments for developing cultural contents that will direct the concept of investment and future society for public resources which lay foundation of film production infra. Again, the worries of poverty in richness of Korean film are, after all, a concems that worries the lack of cultural resources. To solve this problem more systernatically, various supports for university film education such as administrational and financial support from companies and govemment not on1y from university is more than necessary.

지역문화예술 발전을 위한 영화제 기획에 대한 연구 - <충북세계가족영화제>를 중심으로 -

어일선,이혜원 한국연기예술학회 2020 연기예술연구 Vol.17 No.1

청주는 교육, 문화의 도시에서 영상문화도시로서 중심에 서 있다. 청주영상위원회 자료에 따르면 2019 년을 기준으로 약 53편의 상업 영화와 드라마가 청주에서 촬영되고 있다. 청주시민이라면 누구나 도로 주변에 붙어 있는 촬영협조 현수막을 볼 수 있을 것이다. 극장과 TV에서 보는 영화와 드라마가 청주에서 촬영되는 것은 반가운 일이 아닐 수 없으며 그만큼 청주가 지역적으로 자연적으로 매력적인 도시라는 게 증명된 것이라고 볼 수 있다. 한국예총 충청북도연합회에서 1959년부터 매년 “예술의 생활화 생활의 예 술화”라는 주제에 부합해 충북예술제가 운영되고 있다. 충북예술제는 충북예총을 포함한 청주, 충주, 제 천, 영동, 음성, 옥천, 증평, 괴산, 단 양, 진천 총 10개의 예총과 건축가협회, 국악협회, 무용협회, 문인협 회, 미술협회, 사진작가 협회, 연극협회, 연예예술협회, 영화인협회, 음악협회 10개의 협회가 협력하여 운 영하고 있다. 충청북도는 문화예술의 발전을 위해 다양한 문화예술 사업에 예산을 지원하고 있다. 지역 주민의 문화향유를 위해 지역축제, 생활문화예술동아리 그리고 다양한 예술 장르를 지원하고 있는데 <충 북세계가족영화제>는 충북예술제에 충청북도가 지원하는 예산의 일부를 지원받아 청주에서 운영되는 지 역영화제이다. 2017년 제1회 영화제 개최를 시작으로 2020년 제4회 영화제를 준비하고 있다. <충북세계 가족영화제>는 청주시에서 활동하는 영화인을 중심으로 활동하고 있는 한국영화인협회 충북지부 회원 및 청주대학교 영화학과가 주체적으로 운영하고 있다. <충북세계가족영화제> 기획 및 성과로 지역영화 제가 지역주민의 문화예술 향유를 위해 나아갈 방향에 대해 살펴보고 지역문화예술 발전을 위한 지역영 화제의 역할에 대해 알아보고자 한다. Cheongju stands at the center as a video and cultural city in the city of education and culture. according to data from the Cheongju Film Commission, About 53 commercial films and dramas are being filmed in Cheongju as of 2019. Anyone in Cheongju will be able to see a banner of cooperation for filming, which is attached around the road. It is a good thing that movies and dramas on theaters and TV are filmed in Cheongju, which proves that Cheongju is a naturally and regionally attractive city. Chungcheongbuk-do is funding various cultural and art projects for the development of culture and art. It supports local festivals, life, culture and arts clubs and various arts genres to promote the culture of local residents. And The Chungbuk World Family Film Festival is a local film festival run in Cheongju with part of the Chungcheongbuk-do-funded budget for the Chungbuk Arts Festival. Starting with hosting the first film festival in 2017, it is preparing for the fourth film festival in 2020. The Chungbuk World Family Film Festival is run by members of Chungbuk branch of the Korean Filmmakers Association and Cheongju University's Department of Film. Chungcheongbukdo of the Korean Filmmakers Association is providing members with the production costs needed for filmmaking through a pre-production support project after receiving support from a local cultural foundation and a regional video committee to help movies be produced in Chungcheongbuk-do. Films produced through a pre-production funding project will be shown at the Chungbuk World Family Film Festival. With the planning and achievements of the Chungbuk World Family Film Festival, we will research the direction that local film festivals move toward the cultural and artistic enjoyment of local residents and learn about the role of local film festivals for the development of local culture and arts.

대본분석을 통한 캐릭터 구축 방안에 대한 연구

어일선,이새로미 한국연기예술학회 2022 연기예술연구 Vol.28 No.4

이 연구는 대본분석을 통해 배우 스스로 캐릭터를 구축하는 데 도움을 주고자 하는 것은 주된 목적이 다. 더 나아가 대본분석 방법을 배우들의 작업 과정에 논의하여 캐릭터 하나하나를 어떻게 구축할 수 있 는지 그 가능성을 실현하고자 한다. 대본분석방법을 연구하기 위해 배우는 먼저 상황을 이해하고, 습득 하고, 관찰하고, 상상하고, 통찰하는 능력을 갖추어야 한다. 배우는 무대에서 허구적인 상황, 실제가 아닌 상황 속에 존재한다. 자신이 그 허구적인 상황 속에서 기본적인 자세를 갖추어 그 환경 속에 투사할 줄 알아야 한다는 것이다. 스타니슬랍스키에 의하면, 이러한 방법을 이해하는 것은 사실적 연기, 즉 그 연기 가 진실한지 아닌지에 달려있다. 이는 허구적인 상황을 내 환경으로 투사하였을 때, 배우는 그 환경을 온 전히 자신의 것으로 믿게 하는 능력을 발전시켜야 한다는 것이다. 훌륭한 배우의 기본은‘올바른 인간’으 로 겸손하고, 정직해야 한다. 이렇게 배우의 기본적인 자세를 먼저 갖추었을 때 대본 분석을 통해 캐릭터 를 창출해낼 수 있다. 모든 극에 등장하는 캐릭터는 목적이 있다. 자신의 역할을 하기 위해선 배우 자신 이 속한 시대와 국가, 사회와 지역에 대한 정보와 지식을 분석하고 이해할 줄 알아야 한다. 그리고 그것 을 바라보는 가치관, 세계관, 이념과 신념을 지닐 수 있는 이성적 존재의 배우가 되기 위해 노력해야 한 다. 연기할 캐릭터가 반드시 희곡에서 출발해야 하는 이유는 작업하는 모든 배우와 스태프들이 함께 공 유하고 약속한 설계도이기 때문이다. 이 연구는 실제 공연을 바탕으로‘세계를 건너 너에게 갈게’ 공연을 적용하여 연구하였다. 작품의 연습 과정을 통해 진실에 대한 감각 훈련과, 사물의 이해, 신체 행동 연기 훈련을 적용하였다. ‘세계를 건너 너에게 갈게’ 공연에 참여한 배우들에게 이 연구가 증명되어 그 가능성 을 제시해 보고자 한다. 또 이 연구에 관심이 있는 학생들과 배우들에게 상상력과 창의성을 제시해주는 발판이 되어 더 폭넓게 스스로 발전하는 정직한 연기방법의 기초가 되는 안내문이 되고자 한다. The main purpose of this study is to help actors build their own characters through script analysis. Furthermore, this intends to realize the possibility of how the discussion of the method of script analysis in the actors' work process helps actors construct each character. In order to study the method of script analysis, actors are basically required to have the ability to understand, acquire, observe, imagine, and discern situations. Actors exists in a fictional situation on the stage, that is, a situation that is not real. It means that actors have to have basic attitude in the fictional situation and project it into the environment. Understanding this method, Stanislavski says, depends on realistic acting, that is, whether the acting is truthful or not. This means that when actors project a fictional situation into their environment, they have to develop the ability to make others believe that the environment is their own. The basis of being a good actor is to be humble and honest as a ‘right human being’. When this basic attitude is first established, actors can create their characters through script analysis. Each character in every play has a purpose. Actors should be able to analyze and understand information and knowledge about the era, country, society, and region to which they belong in order to play their role. And they are required to strive to become an actor of a rational being who has values, worldviews, ideologies, and beliefs to view those things. The reason that the character to be played must start from a play is that it is a blueprint which is shared and arranged by all the actors and staff working together. This study was conducted based on the actual performance, “Crossing the World to You”. Throughout the practice process of the performance, sensory training for truth, understanding of objects, and physical actionl acting training were applied. This study has been proven to be effective for the actors who participated in the performance of “Crossing the World to You”, and so suggests the possibility of the method of this study. In addition, this will serve as a stepping stone to present imagination and creativity to students and actors interested in this study, and will also serve as a guide for them to acquire honest acting methods which help them develop more widely on their own.

3인의 영화감독과 신인배우들을 통하여 바라본 촬영 현장에 대한 인식 연구

어일선,박은선 한국연기예술학회 2019 연기예술연구 Vol.15 No.2

영화배우는 현장에 있으므로 빛이 나야 되는 존재이다. 그러기 위해서 현장에 들어가기 전에 준비해야 되는 사항이 매우 많다. 우선 연기자로서의 기본 훈련은 꼭 필요하다. “출연만 시켜 주신다면 최선을 다해서 무슨 역이든 다 하겠습니다.” 라고 생각을 하는 초보자들이 의외로 많다. 이는 당연한 그들의 바램 일 것이다. 그러나 현실은 신인일지라도 이미 갖추어 진 전문 연기자를 원하는 것 또한 엄연한 제작자들의 확고한 생각이다. 그래서 연기자는 끊임없는 연기훈련과 연기외의 다양한 지식을 습득하는 것은 평생 가지고 가야할 배우의 의무이다. 영화연기의 예를 들어보자. 연극 연기와 다르게 영화의 연기자는 영화에 대한 다양한 지식을 이해해야 한다. 영화배우의 영화연기 요소가 때로는 오브제나 미장센으로서 감독이 표현 하고자 하는 선택 수단에 불과 할 수 있다. 이는 촬영현장에서의 조명, 촬영, 편집 등의 변화에 따라 연기의 감정이나 내용이 달라지는 것을 통해서도 확인 할 수 있다. 배우의 설정이 감독이 원하는 방향의 캐릭터인지, 그 인물과 감정을 감독이 바라는 방향으로 이끌어 가는지, 상대와 스태프들의 의견과 동일하게 진행 되는지 확인 하여야 한다. 준비가 다 되면 촬영장에서 리허설을 하고 본 촬영에 들어가게 되는데 이때 본인의 연기가 다양한 각도에서 같은 장면을 촬영할 때 이질감이 없는지도 고려해야 하는 것이 배우의 역할이다. 하지만 신인배우들은 이러한 현장에 대한 경험과 지식이 부족하기 때문에 현장에 대한 어려움이 생기는데 이때 생기는 현장에 대한 문제들이 왜 생기는지, 그리고 현장에 오기 전 인식은 무엇인지 인터뷰와 설문의 비교 연구를 통해 감독과 신인배우에 대한 인식의 간극을 줄이고자 한다. 현장에서의 시간은 곧 작품의 질적 관계와 깊은 연관을 가지고 있다. 이 연구는 원활한 현장의 진행의 도움과 좋은 작품의 결과를 위해 필요한 가치가 있는 연구라고 생각한다. Movie stars shine when they are on the scene. In order to do so, there are a lot of things to prepare before entering the field. First of all, basic training as an actor is essential. There are surprisingly many beginners who think, I'll do my best and do my best if you let me.This would be their natural wish. But the reality is that even a rookie wants a professional performer who is already in place, too, is the firm idea of the grim producers. So it is the actor's duty to take with him a lifetime to acquire a variety of knowledge other than constant acting training and acting. Take an example of movie acting. Unlike theater acting, actors in movies must understand a variety of knowledge about movies. In addition, roles should be given to understand the flow of the entire scenario, identify character tendencies and personalities, and quickly acquire story composition. It should be checked whether the actor's settings are characters in the direction the director wants, whether he leads the character and emotions in the direction the director wants, and whether they go in the same way as the opinions of the opponents and the staff. However, new actors lack experience and knowledge on these sites, which creates difficulties in the field, and they want to reduce the gap between director and new actors' perception through interview. The time at the filming site is soon associated with the quality relationship of the work. I think this is a study that is worth the effort for the help of the smooth progress of the field and the results of good work.

해방기 한국영화의 특징에 관한 연구 : 해방직후 영화계의 재편과 영화인의 활동 중심으로

어일선 청주대학교 학술연구소 2013 淸大學術論集 Vol.21 No.-

영화에 있어서의 전쟁의 책임문제 : 한국 전쟁영화 변화과정에 관한 연구

어일선 청주대학교 학술연구소 2015 淸大學術論集 Vol.25 No.-

As Korea embraced a war movie the Revitalizing Reforms system after Japanese colonial rule and post-liberation Korean war machine to do well to a strategy and ideology within text of this period and look at what movieA time when the movie shows, ideology, a unique way of expressing a sentiment that we are and find features and narrative to bury the. Anoint him leader over Japanese colonial rule and right after the liberation of the near-collapse and Yushin regime has a political, social model of command in many parts resembles the institutional control by a national film as a war movie, has produced. Each age, combined with the uniqueness of these ideologies advocating is different, but a war movie on this ideology is injected into and that has been used for advertising purposeswill But It shows a difference in style in a propaganda war movies through every each period. The history of the country's identity and war era also email the social situation in terms of materials are appropriate to reproduce into a movie. These war movie with played by exposing the horrors of battle is to anti-war to concentrate to stress the ultimate is now setting its sights. But the Korean War movie about war that is various and a wide variety of genres, characteristics, each pose for the story of each period trying to convey a message and typeTinged with a slightly different based on type. Some can be classified by type based on the each period about this, did examine you. In general, the Korean War movies in the history of the Japanese occupation, war movie that has been excluded included study, which has seen the overall change flow of Korean war movieI did to sound.

영상 매체의 활용에 대한 연구 : 전시 영상매체 활용 현황과 활성화 방안연구

어일선 청주대학교 학술연구소 2008 淸大學術論集 Vol.12 No.-

As the concept of museums has changed from a research institute to a space of education and culture for the public, the interest and expectation of display from spectators have risen. In order to satisfy such expectations, a lot of museums have opened or have started remodeling in the recent few years, and prepare several special exhibitions a year. Not only this, but effort are put into verifying and introducing differentiated display presenting techniques. Especially, new display media such as graphic panel, model, videos etc. are introduced to exhibitions so that spectators are able to more easily understand and experience the exhibition contents. Multi-visual media is noticed as an appropriate display media in most effectively communicating the exhibited information to spectators. However, as a result of researching cases of visual media being used in current museum exhibitions, it was shown that it is yet being used as a supporting media for unilateral communication. Considering the largest issue of museum exhibition in the 21st century is the interaction between the exhibited articles and spectators, the current utilizing system of visual media should be improved. Thus, I suggest the following, concerning related concrete issues and the use and revitalization of video as a display medium. First, there is a need for developing a new program. Unlike other supporting media, visual media is combined with high technology, being largely effected by the replacement time of material with the fast growing technology. Considering the attribute of media, development of preceding programs is needed, and the thing to have in mind in such program development is making the spectators able to actively participate in the exhibition by communicating with the exhibited articles and inducing their interest. Second is professionalization of the production method. For development of diverse programs, expecially for visual media programs in a developed form inside connection with hardware elements, it must be progressed within a network among professionals. In such environment, a procedure of verification by the specialists for each stage of production is needed. In order to do this, a long-term plan must be prepared for a systematic infrastructure construction. If each roles are performed appropriately and cooperating policies established, development of new programs can be accomplished more easily. When such proposed contents are gradually supplemented, museums can be reborn into a new concept that accept new paradigms, and the role of visual media will become larger in it.

실존 공간과 사건을 기반으로 한 공연화 연구 - 연극 [짐승의 시간]에 나타난 공간을 중심으로 -

어일선,이성구 한국연기예술학회 2023 연기예술연구 Vol.30 No.2

This paper derives an image of space based on the testimony and documenraty studies of victims held in the actual Seongam concentration camp, the actual space and shows the derived image was used for the performance through stage space analysis appeared in the performance <Time of the Beast>. The play <Time of the Beast> was written by Kim Min-jung and translated by Juri Ishikawa at the request of the Natori office in Japan and it was premiered directed by Shiira Keita at the small theater B1 in Shimokitazawa, Japan, from October 23 to November 2 in 2020. The important characteristic of the play <Time of the Beast> is that it used Seongam concentration camp the juvenile detention center in Seongamdo Island, Ansan, a space that existed in history, as a spatial background and May 1945 as a temporal background. The process of performing real space and events through fictional imagination should be preceded by awakening the creator's sense based on an investigation of real space and events. If unverified content is performed in this process, there is a risk that an unspecified number of audiences will distort and accept historical facts. Conversely, it is a story based on the author's fictional imagination, but if it is performed based on accurate grounds, the event will become an issue by an unspecified number of audiences and provide implications for creating a better society by newly recognizing the event itself. Accordingly, this researcher studies how script analysis is performed during the performance production process by analyzing the method and process of performing based on actual space, focusing on the space shown in <Time of the Beast>, play participated as a director at Daehak-ro Small Theater ‘Gongyou’ from April 29 to May 9 in 2021 and October 7 to 8 in 2022 at Byeolmuri Theater in Ansan Culture and Arts Center. The purpose of this paper is to remind field workers of the importance of spatial analysis and to present an approach of spatial analysis in the performance production process. For this purpose, we will examine the formation background of Seongam concentration camp and the historical meaning of space through prior research and literature research, and also we will study the space embodied in the actual performance through actual cases by deriving the main image of the space through testimony and record research of the victims. 본 논문은 실존 공간인 선감원과 그곳에 수용되었던 피해생존자의 증언 및 기록 연구를 바탕으로 공간의 이미지를 도출하고, 도출된 이미지가 공연에 어떻게 활용되었는지를 연극 <짐승의 시간>에 나타난 무대 공간분석을 통해 연구한 논문이다. 희곡 <짐승의 시간>은 일본의 나토리 사무소의 의뢰로 김민정 작가가 쓰고 이시카와 쥬리가 번역한 작품으로 2020년 10월 23일부터 11월 02일까지 일본 시모키타자와에 있는 소극장 B1에서 시라이 케이타의 연출로 초연되었다. 희곡 <짐승의 시간>의 중요한 특징은 역사 속 실재했던 공간인 안산 선감도의 소년범 수용소 선감원을 공간적 배경으로, 1945년 05월을 시간적 배경으로 한다는 점이다. 실제 공간과 사건을 허구적 상상력으로 공연화하는 과정은 실제 공간과 사건에 대한 조사를 바탕으로 창작자의 감각을 일깨우는 일이 선행되어야 한다. 이 과정에서 검증되지 않은 내용을 공연화한다면 불특정 다수의 관객이 역사적 사실을 왜곡하여 받아들일 위험이 있다. 반대로 작가의 허구적 상상력에 의한 이야기이지만 정확한 근거를 기반으로 공연화한다면 불특정 다수의 관객에 의해 사건은 이슈화되고 많은 사람들이 사건 자체를 새롭게 인식하게 되면서 더 나은 사회를 만들어갈 시사점을 제공할 수 있을 것이다. 이에 본 연구자가 2021년 04월 29일부터 05월 09일까지 대학로 소극장 공유에서, 2022년 10월 07일부터 08일까지 안산문화예술의전당 별무리극장에서 연출로서 참여한 연극 <짐승의 시간>에 나타난 공간을 중심으로 실존 공간을 소재로 공연화할 때의 방법과 과정을 분석함으로써 공연제작과정 중 대본분석이 어떻게 공연이라는 결과로 나타나는지를 공간을 중심으로 살펴본다. 이를 통해 현장 작업자들에게 공간분석의 중요성을 상기시키고 공연제작과정에서 공간분석의 접근 방법을 제시하는 데에 본 논문의 목적이 있다. 이를 위해 선행연구와 문헌조사를 통해 선감원의 형성 배경과 공간이 담고 있는 역사적 의미를 살펴보고, 피해생존자들의 증언과 기록 연구를 통해 공간의 주요 이미지를 도출해 냄으로써 실제 공연에서 구현한 공간을 실제 사례를 통해 살펴보고자 한다.

일제강점기 신문광고로 본 영화상영에 관한 연구

어일선 청주대학교 학술연구소 2010 淸大學術論集 Vol.15 No.-

The previous studies on the Korean film history were focused on the initial period and the birth of the Korean films. Accordingly accumulated research data and analysis thereof were insufficient to understand the general trend. The Japanese occupation in particular was the period of the early Korean film history. However no study was made to define what kind of films were screened and how they were screened in this era. In short, studies on the Korean film history were merely focused on the history of films per se, thus various areas were not properly analyzed including the history of capacity to receive audience, history of film industry, and advertisement and public relations for films. Accordingly the aim of this study was to examine the changes and development of the newly released films in Korea during the Japanese occupation, by understanding the comprehensive landscape of the early Korean film history. In other words the aim of this study was to examine the characteristics of the newly released films and advertisements therefore in Korea under the Japanese occupation between 1910 and 1945. The characteristics of the released films according to the analysis were as follows. Around the end of the World War I in 1918, foreign films were introduced and released in Korea. Here, the American films were the majority. Although small in numbers, films from the various countries were also released in Korea, such as the Netherlands, Denmark, Germany, Britain, Italy, and France. From the late 1930s, the number of Japanese films significantly increased and the number of European films decreased except for those made in Germany and Italy. Regarding the Korean films, they appeared in increasing numbers in the advertisement between 1920 and 1926, and the highest numbers of the Korean films appeared in the advertisement up until 1930. Regarding the genre of films described in advertisement, most of the films were described as a mixed genre. Accordingly it was difficult to identify the characteristics of the genre of films, however it was found that the most prevalent genre was action films followed by comedy. The number of screened tragedy and drama was relatively low compared to those of action and comedy. Regarding the length of films, since 1920s more than half of the screened films were more than 5 rolls (gwon). As the film technology advanced, the length of a film became longer due to the complication of the story. With the arrival of the sound film in particular, the length of a film became longer. However it is noteworthy that since 1940s the length of the screened films shortened. As a result of the analysis on the above characteristics, the following factors were found to be relevant. First, the World War I and II, and the political situation of Japan were relevant factors. The 2 World Wars were an exceptional factor influencing not only the film industry in Korea but also all countries that produced and distributed films. For instance, the US was able to develop their film industry early, for they did not participate in the World War I. In case of Korea, unique political situation such as the Sino-Japanese War and the Pacific War influenced every aspect of the analysis results of this study. Next, a few points should be made regarding the significance and limitations of this study. Another significant point of this study was the research method which was obtained through several trials and errors during the research process. The selection of the advertisements was made with an objective method and the analysis items for the subjects of the study were based solely on the data analysis. Not all researchers in the current advertisement field use such analysis method. There might be various reasons for this, however the most significant reason not to use such analysis method was that it achieves relatively little compared to the significant time and energy invested. For instance, the facsimile edition after 1923 cannot be read in PDF file. Furthermore its print condition was poor and it was a minimized version, hence the worse legibility. The advertisements in 1940s in particular were more difficult to read, for more than 20 advertisements with 1 line appeared daily in the newspaper. Finally the limitation of this study was that a comparison analysis could not be made with the advertisement for films in other contemporary daily newspapers. If such comparison analysis was made, a more definite result than the current one could have been obtained. However, it is virtually impossible to conduct such comparison analysis at this point. Accordingly many scholars interested in this subject should cooperate to improve the research environment. The significance and limitations of this study were mentioned as a suggestion for future researchers. This study is a starting point for the Korean film history during the Japanese occupation based on the document analysis of the advertisement. Therefore it is anticipated that many studies will be made based on this study that provides basic data to establish a desirable discipline of the early Korean film history.

문예영화의 한국영화사적 의미에 대한 고찰

어일선 청주대학교 학술연구소 2008 淸大學術論集 Vol.11 No.-

During the early stage of Korean film history, literary films contributed substantially. There were <Choon-hyang Jeon>which evoked interest of Korean movies from the public, <Jang-hwa-hong-ryun Jeon> that insisted only Korean producers and showed the essence of Korean film, <Un-yong?jeon> that cast Yun Baeknam, Yi Kyungson and Na Wungye, <Sim-chong Jeon> and <Oh Mong-nyeo>. These movies are all literary ones. To materialize ideal of movie, great literary works were essential. Movie directors chose literary work as a source of scenario, a reservoir for public love, an adventurous ground for motivated challenge and a gathering ground for imagination. To make literary productions films, they aimed at initial direction of film. The answer to the question of choosing scenario as the first sound movie was literary works. Also literary works were alternatives for revive Korean movies at a time of the disturbances of war and liberation. Directors who wanted to lay the new foundation of Korean movie had to get through a bar of literary works wether they liked it or not and along the lines of Yu Hungmok and Kim Sooyong were greatly fascinated by the charm of literary works. <Choonh-yang Jeon> was revived eignteen time, works such as <sim-chong Jeon> <Jang-hwa-hong-ryun Jeon> and Lee Kwangsu's works were revive many times, too. Until now there is still a great possibility of revival of those movies. Passing 1960s, literary film faced a glorious era. It was no surprise that masterpieces were poured out from movie companies, excellent and fine films swept across the nation and literary movies were perceived as superior ones. As perception of time, space and plot spreads, literary works provided a good stage to experiment structural aspect and aesthetical image. During the early and late 1960s that kind of experiment were conducted in depth. Even though literary film declined with the end of 1960s, I still believe that was an temporary step-back for further step-forward. Literary movie is a genre that have both danger and charm. It can make public bored with story they already know, on the other hand it can make people experience unexpectedness with distinctive images. Also, it can give a great stimulation in terms of storytelling and symbolic meaning. Thanks to those merits and shortcomings, literary work was a boundary between stability and change and a crossroad of ordeal and success. The reason why we have to look at literary film is to know the end of the boundary and success or failure of the crossroad. Also we should not repeat the same mistakes and we should fill up defects and correct the literary films. I expect a day will come when Korean movies are viewed more broadly and wide through literary films. If the day comes, literary film will become an warrior that lead the flow of Korean movies in the future. Key word : literary film, Korean film history, source of scenario,