〈집없는 천사〉와 〈미가헤리의 탑みかへりの塔〉의 비교 연구

이효인(Yi Hyo In) 한국영화학회 2010 영화연구 Vol.0 No.44

This paper analyzes Homeless Angel(1941) and Tower of Migaheri(1941) comparatively. These two films were produced at the same time in Korea and Japan. Homeless Angel(by director Choi In-kyu) and Tower of Migaheri(by director Shimizu Hiroshi) also dealed with orphans and social pariahs. The two movies has been recommended by the Japanese Ministry of Education, but the recommendation of Homeless Angel has been canceled later. In spite of this fact, it could be speculated the relationship of the production of two films and the indirect support of policy makers in Japan. When the movies came out at the beginning of a world economic crisis, the Japanese militarist tendency openly revealed. The ethnic assimilation policies in Korea has been strengthened and the intellectuals and the national liberation movement was suppressed by Japanese Imperialist. This paper has the aspect on the policies and attitudes of two films that how two films have treated with orphans and social pariahs. On the other hand, this paper tries to find traces of resistance by director Choi through the analysis of Homeless Angel. As compared with the original scenario, there are many other points in film. In spite of this film was an outcome of the self-censorship, it also could be found some traces of resistance on this film as compared with changed part of the original scenario. Finally this paper has a conclusion that though Homeless Angel has the statement of resistance against Japanese on its own, it is a fact that can not be intrinsic resistance.

일제하 카프 영화인의 전향 논리 연구

이효인(Yi Hyo In) 한국영화학회 2010 영화연구 Vol.0 No.45

KAPF(Korea Artista Proleta Federatio) was organized in 1925 and dissolved in 1935. It was the most traditional and mainstream group of the Korea under the control of Japanese Imperialism. This paper looked into KAPF focusing on the activities and claims of KAPF cineastes and attempted to elucidate individual signs and implicit logic of discontinued activities of KAPF cineastes. For this purpose, this paper took Seo, Gwangjae and Park, Wansik who were famous critics and controversialists of cineastes of KAPF. Specifically, this paper not only tried to interpret how the movement theory of proletarian art as a kind of imported modernity conflict with the reality but also attempted to discover the implicit conversional logic and pro-japanese logic of Seo, Gwangjae. When the outbreak of Sino-Japanese War and World War 2 in Asia became in earnest, Seo, Gwangjae accepted 'the movie enterprise theory', 'the new social system', 'oriental idea', 'assimilationism' with belief because as most people in Korea he thought it is impossible to achieve independence from Japanese forever. It seems that it's inevitable to convert from the left activist to be a wartime collaborator to Seo, Gwangjae of a famous film critic. Why did Seo develop collaborative logic first? For this question this paper focused his personality and the early essays, so that it can be discovered to understand his unique character and his confusing acceptance of modernity. He could not accept reasonably to the mental shock that were 'marvel on film' and 'the impact of the western view'. On the other hand, Park, Wansik, was interested in cinema at first, however concentrated his efforts to social movement than cinema movement from 1927 to 1930. After discharge in 1931, Park wrote some essays of cinema movement and tried to reorganize the department of cinema for KAPF. But in 1934, many members of KAPF arrested, Park also was prisoned. In trial all member of KAPF declared their conversion in 1936, Park did too. The way of Seo, Gwangjae was different Park's way, the conversion of Seo was different the one of Park, This paper focused the difference between two activist, so tried to figure and understand the cinema movement of KAPF.

2000년대 사극영화의 신화적 속성 연구 : 프라이의 대위법적 양식이론과 애니미즘 개념으로 본 <명량>, <안시성>, <황산벌>

양윤모 ( Yang¸ Yun-mo ),이효인 ( Yi¸ Hyo-in ) 부산대학교 영화연구소 2021 아시아영화연구 Vol.14 No.3

이 글은 2000년대 이후 한국 사극영화들을 현대적 신화의 입장에서 보고자 한다. 특히 현대의 일부 사극영화들이 그 사회의 신화로서 기능하고 있다는 특질에 주목하였는데, <명량>, <안시성>, <황산벌> 세 작품을 대상 작품으로 삼았다. 선정의 이유는, 세 작품 모두 전근대시대 나라의 명운이 걸린 전쟁을 배경으로 하는 영웅서사를 다루고 있기 때문에 ‘한 나라의 신화’라는 속성에 비춰 생각해볼 여지가 충분하다고 생각했기 때문이다. 방법으로는 각 작품의 서사양식을 분석하면서 작품의 미학적인 특징과 현대사회의 신화라는 사회문화적 특징의 연결점을 찾아보고자 하였다. 여기에 유용하게 활용된 것은 노스럽 프라이의 ‘역사비평-양식의 이론’이었다. 사극에서 신화적 성격이 구축되는 것은 현대 사회에서 신화적 역할을 하는 사극의 고유한 기능과 그 속에 들어있는 물신으로서 애니미즘의 지원을 받아 이루어짐을 볼 수 있었다. <명량>, <안시성>, <황산벌>의 인물들을 분석하면서, 주인공을 중심으로 작품의 주조를 이루는 서사양식은 하나일 수 있지만 다른 주변인물들을 통해서 혹은 주인공 캐릭터가 묘사되는 다층적인 측면을 통해 다른 여러 서사양식들이 한 작품 내에 공존하면서 순환할 수 있다는 것이 확인 되었다. 서사양식의 이런 순환과 공존의 속성을 바탕으로 현대 사극영화들이 신화와 사실주의를 결합해내는 방법을 찾아보았다. ‘전위’(轉位, displacement)라고도 할 수 있는 이 방식을 <명량>, <안시성>, <황산벌>에서 살펴보니 공통적으로 그것은 애니미즘이라는 미학적 전략의 활용이었다. 이 애니미즘은 <명량>에서는 울돌목, <안시성>에서는 장궁, <황산벌>에서는 인간장기를 통해 각각 표현되었다. 이들을 통해 애니미즘이 전위 역할을 하며, 실제 역사를 다룬 사극영화에 신화적 분위기를 창출함과 동시에 이들 사극영화가 현대사회의 신화로 기능하는 데 기술적으로 기여하고 있음을 찾아볼 수 있었다. This article attempts to see Korean historical films in the 2000s from the perspective of modern myths. In particular, paying attention to the characteristic that some contemporary historical films function as myths in the society, < Roaring Currents >, < The Great Battle >, < Once Upon a Time in the Battlefield > were selected as the subjects. As the method, while analyzing the narrative style of each work, it was trying to find the connection between the aesthetic characteristic of the works and the socio-cultural characteristic of the myth of modern society. What was useful here was Northrop Frye’s “Historical Criticism: Theory of Modes.” Analyzing the characters of those three films, it was confirmed that although there may be one main narrative style(‘mode’) focusing on the main character, several other narrative styles can coexist and circulate in one work through other characters or through multi-layered aspects in which the main character is depicted. Based on this attribute of circulation and coexistence, I tried to find a way that modern historical films combine myth and realism. Looking at this method, which can also be called “displacement”, in the three films, it was the use of an aesthetic strategy called “animism” in common. This animism was expressed through ‘Uldolmok’, ‘the great bow’, and ‘the human chess game’. Through them, it was found that animism acting as ‘displacement’ creates a mythical atmosphere in historical films dealing with actual history, and at the same time, contributes technically to these historical films functioning as myths in modern society.

특집논문 : 해방기 <봉화 烽火>(1946)와 <이재수의 난>(1999) 비교 연구

이효인 ( Hyo In Yi ) 한양대학교 현대영화연구소 2015 현대영화연구 Vol.11 No.3

본 연구는 <봉화>의 기획 배경을 살펴봄으로써 해방기 영화적 활동을 복구하는 한편 ‘이재수의 난’에 관한 자료 및 소설, 영화 등과 비교함으로써 <봉화>의 특징을 드러내고자 한다. 해방기 조선영화계의 통일 단체였던 조선영화동맹은 조직 결성 후 곧바로 신탁통치를 둘러싼 정국 악화로 인하여 주요 동맹원들이 동맹으로부터 이탈하고 난 후 소수의 영화인들에 의해서 이뤄졌다. 특히 조선영화협단 배우들의 활동이 많았다. <봉화>는 이런 환경에서 만들어졌다. <봉화>를 검토하기 위해, 1999년에 만들어진 <이재수의 난>(박광수)을 주요한 비교 자료로 삼았다. 즉 <봉화>와 <이재수의 난>(박광수, 1999)의 내러티브와 인물 묘사 방식 등과 비교함으로써 <봉화>의 서사적 특징을 밝히려고 시도하였다. 이를 위해 역사 내러티브의 서술 방식(narration)에 대한 주목할 만한 연구인 헤이든 화이트의 『19세기 유럽의 역사적 상상력, -메타역사』와 노스럽 프라이의 『비평의 해부』를 참고하였다. 즉 역사적 사실의 서술양식은 그 시대적 요청과 유관하며, 또 양식에 따라 논증 방식과 수사법의 차이가 있다는 것이다. 개략적으로 언급하자면, <봉화>는 환경은 좋지 못하나 뛰어난 영웅이 등장하는 로망스 양식을 취하면서 그 서술 방식은 관습적 형식주의를 취하였고, 결과적으로 작가의 열망이 은유적으로 드러난 것으로 분석하였다. <이재수의 난>은 환경과 역량 모두 좋지 못한 인물이 일상적인 삶 속에서 살아가는 비극적 양식을 취하면서 그 서술 방식은 기계론적 형식을 취하였고, 결과적으로 감독의 판단이 환유적으로 드러난 것으로 분석하였다. 그리고 이 작품들과 관련된 작가/감독의 이러한 형식의 선택은 앞에서 밝힌 미적 기조와 연관있다고 보았다. Bonghwa(signal fire, 1947) was tried to make a film by Chosun Film Alliance(C.F.A) in 1947 but it had not been made as a film. The scenario of Bonghwa written by Choi Keum-dong can be seen in old magazine ShinCheonJi(New World) was published in 1946, however it was stopped at serial 4th. This study is aimed to describe the project background and narrative characteristics of Bonghwa so I focused on the project background and comparative materials. The Uprising as well as Bonghaw was made by director Park Kwang-su in 1999 also treat the uprising of Jeju island in 1901 called as the upring of Yi Jaesoo. I tried to research to check the differences of the description of characters and the structure of narratives. Because Bonghwa was not only made as a film but also remained as an incomplete scenario and it could be explained more fluently by the comparative study. Metahistory(1973) written by Haydn white and Anatomy of Criticism: Four Essays(1957) written by Northrop Frye are the good and important guidence to research because Bonghwa(signal fire 1946) and The Uprising(1999) has treated the real uprising of 1901 as each way. Bonghwa has adopted the genre of romance and described the charcter as a hero, however The Uprising has adopted the genre of high mimetic or low mimetic and described the charcter as a ordinary person. The differences between Bonghwa and The Uprising results from the differences of esthetics ; the viewpoint of world and history, the task or needa of times.

영화 < 아리랑 >의 컨텍스트 연구 -< 아리랑 >이 받은 영향과 끼친 영향을 중심으로-

이효인 ( Hyo In Yi ) 한양대학교 현대영화연구소 2016 현대영화연구 Vol.12 No.2

< 아리랑 >은 1990년대까지 민족영화의 전범인 동시에 예술적으로 뛰어난 리얼리즘 영화이며, 민족적 저항 정신이 몽타주로 표현된 수작으로 인정받았 다. 이러한 견해는 1990년대 들어서 신파적인 부분과 저항성의 부재라는 측 면에서 문제 제기를 받으면서 조금씩 수정되기 시작했다. 이러한 불충분한 영화사적 해명은 자료 해석의 단순성과 전기적인 작가주의 그리고 텍스트 중심 분석에 집중한 나머지 문화사적 맥락을 놓친 것에서 비롯된 것으로 보 인다. 이후 최근의 연구들은 < 아리랑 >을 장르영화의 맥락에서 다루고 있다. 즉 문화적 맥락이나 당대의 에피스테메를 어느 정도 밝히려고 시도하는 것 이다. 이 글은, 이러한 연구들을 검토/수렴하는 한편 누락된 부분들을 보충하여 새로운 각도에서 < 아리랑 >의 맥락 즉 받은 영향과 끼친 영향을 서술하였다. 받은 영향의 측면에서는 이광수의 소설 『무정』과 < 폭풍의 고아들 Orphans of the Storm >(D. W. 그리피스, 1921) 등을 검토하였으며, 끼친 영향 의 측면에서는 나운규에 비판적이었던 카프 영화계가 만든 < 유랑 >(김유영, 1928), 나운규보다는 지적이며 카프영화와는 별개로 독자적 영화 세계를 가 진 것으로 평가된 심훈의 < 먼동이 틀 때 >(1927) 등을 그 대상으로 삼았다. 그럼으로써 < 아리랑 >과 문학과의 교류 지점, < 아리랑 >에 참가한 인력들인 배우와 스텝들의 성향, < 아리랑 >이 참고한 영화들과의 비교 분석, 피식민지 영화인들의 영화적 인식 등을 검토한 것이다. 이는 < 아리랑 >을 둘러싼 에피스테메와 문화적 맥락을 밝히는 것이기도 하다 Arirang directed by Na Un-kyoo is recognized as a canon of national film at the same time has been expressed as a masterpiece and outstanding realism movie with artistic. Also this film is recognized as a resistance film has the national spirit until the 1990s. This view began to be gradually modified by the other views in the 1990s. These insufficient explanation seems to miss the cultural context and episteme of that days. Since recent studies are dealing with Arirang as the context of the genre films. This article, by supplementing the missing parts while reviewing / convergence of these studies try to describe this film in the affect and the impact of Arirang with a new view point. In terms of affect this study has reviewed the novel heartless(Mujung) written by Lee Kwang - soo and Orphans of the Storm Storm (D.W. Griffith, 1921) and in terms of effect this study has reviewed KAPF film Wandering(Yu rang, Kim Yu-yeong, 1928) and When the Sun Rises(Meondong-i teul ttae, Sim Hun, 1927). So this study try to reveal the relation of Arirang and tendencies of the actors and staffs of this film, Arirang and Korean modern novel, and comparative analysis of Arirang and other films, and the filmic perception of the filmmakers of in that days. This is also the work to reveal the episteme of filmmakers and cultural context surrounding the Arirang

<바보들의 행진>의 탈구심적 미학

이효인 ( Yi Hyo In ) 한양대학교 현대영화연구소 2017 현대영화연구 Vol.13 No.1

하길종의 감독의 <바보들의 행진>(1975)은 흥행에 크게 성공하면서 `병태 신드롬`을 일으켰을 정도였으며 비평적으로도 큰 찬사를 받았지만, 회의적인 비판 또한 없지 않았다. 또한 구체적인 미학적 검토는 물론 당대 혹은 후대의 영화인들에게 어떻게 받아들여졌는가에 대해서도 구체적으로 검토되지 못했다. 또한 이 영화가 당대 관객들과 만난 구체적인 미적 요소 즉 파토스(pathos)를 불러일으킨 인물과 행위, 공간, 이미지, 서사전략 등은 충분히 설명되지 않았다. 이 글은 이런 맥락에서, 단절적인 서사와 파편적 이미지들로 가득 찬 <바보들의 행진>을 억압에 대응하는 미적 양식의 차원에서 보고자 한다. 미하일 바흐찐(Mikhail Bakhtin, 1895∼1975)은 억압적인 공식문화 혹은 벗어나기가 요원한 지극히 관습적인 문화가 지배적일 때는 웃음과 풍자(인물과 행위), 밀실에서 광장으로(공간), 그로테스크한 물질 혹은 육체성(이미지), 거리낌 없는 말투와 에피소드들의 혼잡한 결집(서사) 등으로 드러난다고 보았다. 즉 구심적 문화에 대항하는 탈구심적 문화가 나타나는데, 이러한 것을 공식문화에 대응하는 민중문화의 특징 그 중에서도 카니발레스크(carnivalesque, 카니발적 양식) 성향으로 보았다. 이 글은 이런 맥락에서 바흐찐의 카니발적 미학 등을 중심으로, 단절된 서사와 분산된 이미지들로 이루어진 <바보들의 행진>이 어떤 통일된 미적 지향을 갖는다는 것을 말하고자 한다. The March of Fools (Babodeul-ui haengjin, 1975) directed by Ha Gil-chong, had a great success in the box office and caused a `syndrome of Beongtae`. It was critically acclaimed but also criticised skeptically. In addition, detailed aesthetic review as well as how it was received by contemporary or later filmmakers was not specifically presented. In other words, the specific aesthetic elements example for characters, actions, space, images, and narrative strategies that caused pathos to audience has not been fully explained. Mikhail Bakhtin(1895-1975) advocated that when a very conventional culture dominated by oppressive formal cultures laughter and satire (character and act), the grotesque material or the body (Image), a crowded tone of voice and episodes (narrative) and the square (space) appeared in the people culture. The centrifugal culture against the centripetal culture appears, which is called as the carnivalesque that is the characteristics of the people culture. In this context, I would like to say that The March of Fools composed of disjointed narratives and decentralized images centered on Bakhtin`s carnival aesthetics has a unified aesthetic point.

윤봉춘 일기 연구

이효인(Yi, Hyo In) 한국영화학회 2013 영화연구 Vol.0 No.55

Yun Bong-chun(1902∼1975) was an actor and also a movie director, actually he had been famous as the friend of Na Un-kyoo(1902∼1937) who was a legendary film director and actor. Despite Yun had not created a masterpiece, he was perceived as a respectable cineaste by many Korean movie staff. After liberation(1945) of Japanese rule, he made some ethnic films which had struggle against Japanese imperialism and had been elected as president(1963∼1964) of The federation of artistic & cultural organizations of Korea and received a national medal(1993) as a resistance during under Jap-ruled period. This paper focused on analysing the Diary of Yun Bong-chun had been written from 1935 to 1937 day after day. The Diary has not only much informations of realistic facts on his activities of movie and theater but also dramas, films, books, events had been experienced by him and the relationships with his friends and colleagues. This Diary starts to describe the scenes of making A Fig Tree(1935) in going with Drama theater Heon Sungwan company and finished to record the facts of Corps of Youth(1938) in 1937. To understand the reality in those period and discover or correct the complicated facts of Korean movie world, this paper has adapted one of method of micro-historical research and has endeavored to reveal the a transient phenomenons from silent pictures to talkie. It’s difficult to beg the question that Yun’s description was average, however the Diary could be the useful materials to understand the more exact facts and correct the existing mistakes in understanding Korean(Chosen) film history.

카프의 김유영과 프로키노 사사겐주(佐々元十) 비교연구

이효인(Yi, Hyo In) 한국영화학회 2013 영화연구 Vol.0 No.57

Proletarian film movement around 1930, was developed in Japan and Korea, was the first exercise that tried to control film culture specified passively by self-directed method. These movements was led by Youyoung Kim and Gwangje Seo in Korea and Genju Sasa and Akira Iwasaki in Japan. This paper tries to re-evaluate by replenishment from a comparison point of view of cultural history between Japan and Korea, in addition to research of proletarian film movement that are published before, It means to understand the context of the proletarian cultural movement, especially the varied behavior of Youyoung Kim who was the leader of film movement of KAPF. And it also can mean special meaning to research for Genju Sasa who was the pioneer of Prokino because he has not been studied even in Japan. This paper tries to inquire about the relationship between Jenju Sasa/Prokino and Youyoung Kim/KAPF film movement and research their theories of proletarian film movement of Genju Sasa and Youyoung Kim. It is not intended to evaluate the levels of two targets. This paper attempts to recognize the thought, the inner face, and outside influences of Sasa & Kim who stood in history.

연작소설 『황원행』의 집필 배경과 서사 특징 연구

이효인 ( Hyo In Yi ) 한민족문화학회 2011 한민족문화연구 Vol.38 No.-

본고는 1929년 동아일보에 연재된 장편 연작소설 『황원행』에 대한 연구이다. 『황원행』은 최독견, 김기진, 염상섭, 현진건, 이익상 등이 순차적으로 썼으며, 의적 강도를 둘러싼 사건들로 플롯이 구성되어 있다. 릴레이 방식으로 쓰인 장편소설이라는 점도 특이하지만, 그 작가들의 면면이 표면적으로는 조화롭지 않다는 것도 특징으로 꼽을 수 있다. 본고는 이러한 소설가들의 결집이 어떤 맥락에서 이루어졌는가를 먼저 살펴본 후, 그 결집이 의미하는 당대의 사회문화적 함의를 추적하고자 하였다. 또한 작품의 내용에 대한 분석과 다수 작가가 집필함으로써 드러난 특징 혹은 단점은 무엇이었는가도 다루었다. 『황원행』에서 소설의 주요 인물과 플롯은 『승방비곡』으로 당대 최고의 대중작가가 된 최독견에 의해 거의 결정된다. 이어서 집필한 김기진은 등장인물들의 과거 묘사에 주력함으로써 인물들에게 계급성 혹은 운동성을 부여하였다. 대중작가인 최독견과 카프의 주요 이론가였던 김기진의 결합은 이채로워 보인다. 하지만 1929년 당시 이미 김기진은 카프의 계급적 소설을 포기하고 통속적인 대중소설로 방향을 튼 상태였다. 염상섭과 현진건은 사실주의 작가로서 자신들만의 고유한 집필력을 발휘하였고, 이익상은 좀 무리스럽게 소설을 매듭짓는다. 이들 5인 소설가의 결집 배경은 친소관계, 생존차원의 노력 그리고 조선 대중문화 공간에서의 헤게모니 쟁취의 차원에서 이해할 수 있는 것이었다. 『황원행』 서사의 특징은 5인 소설가가 집필한 것에서 비롯된 불균질성을 들 수 있다. 그 불균질성은 각 작가들의 문체와 서사전략 방식의 차이에서 비롯된 것이었다. 그럼에도 불구하고 이 서사는 탐정서사의 일관성을 대체로 유지하고 있다. 다만 최독견에 의해 구사된 영화적 묘사법은 이 소설의 독특한 측면으로 꼽을 수 있을 것이다. 이렇게 본고는 『황원행』 집필 배경과 그 서사적 특징을 연구함으로써 일제 시대 대중문화의 규명되지 못한 한 부분을 밝히고자 하였으며, 이 소설과 소설가들이 지향했던 좌표를 읽어내고자 노력하였다. This paper analyzes Hwangwonhaeng(The Road for Deserta) by written novelist Choi-Dogkweon, Kim-Gijin, Yeom-Sangseop, Heon-Jinken, and Lee-Iksang. This novel has been written by them in order and has the story of Korean Style`s Robin Hood. The defining characteristic of this novel are serial style novel and the mismatch of novelists each other. At first this paper tries to explain how to combine them for writing this novel and understand the meaning of this novel with the point of sociocultural context. After then this paper analyzes the contents and strategy of narrative and the characteristics and the weakness of this novel has been caused of novelists has each personality and each writing style. It`s very marvelous Kim-Gijin and Choi-Dogkweon who has been a famous writer of pop fiction determined to write this novel together to somebody who knows Kim-Gijin only as a famous leader of KAPF. However Kim already has converted and modified his own method for writing strategy. Kim tried to qualify characters of this novel as a political activist or a socialist to the bone. Meanwhile Yeom and Heon have been famous as realist and acquired good writing for this novel. And Lee finished this novel more or less unnaturally. The co-writing of this novel means their position and thought in those days too. They had to survive under the Japanese imperialistic govern and wanted to seize the hegemony in the Korean sociocultural world that any Japanese couldn`t try. The characteristics of the narrative of Hangwonhaeng are non-homogenity that come from co-writing and the description of shooting and editing in the film production that is achieved by Choi. However this novel has the consistency as a detective narrative.

〈고려장〉과 〈나라야마 부시코〉(1958, 1982)에 나타난 공동체 및 효(孝)에 대한 비교 분석

이효인(Yi Hyo In) 한국영화학회 2008 영화연구 Vol.0 No.37

The present thesis involved the The Ballad of Nanryama(1958) by Kinosita Keisuke, the Goryeojang(1963) by Kim Gi-young and the The Ballad of Narayama(1982) by Imamura Syohei, to compare the movie's description about the community and the filial piety. For this purpose, a basic study was carried out about the trends of the works by the three directors, about the social environments when the movies were released, and also about the 'Giro story'. The result showed that Japan in 1958, Korea in 1963 and Japan in 1982 had unique social characteristics, and that the 'Giro story' was widespread from India to all over the eastern Asia. The movies of the three directors, which have similar subjects and themes as well as similar background stories, however, were different from one another according to the director's view of the world. Regarding 'community' and 'filial piety', the three works said as follows: As to the issue of the community, the director Kinosita thought that only the spirit of community could overcome the severe poverty, based on the postwar experience of resolving the problems of disorder and poverty, achieving the economic growth; while the director Imamura took the community as 'a complex place with a minimum role' On the other hand, Kim Gi-yeong described the community as an object which was threatening or was to be overcome. As to the issue of the filial piety also, the director Kinosita considered the filial piety as a subordinate concept to the community's group, as a personal emotion of love and sorrow; while the director Imamura Syohei seemed to consider the filial friendship as the practical pathos (the source of haman mind) which goes beyond personal level to overcome social regulations while accepting the futility of life. To Kim Gi-young, the community seemed to be an oppressive order that did not allow the filial piety, in the situation of the collision between filial piety and community. Through this research it was found that the directors took similar themes or subjects with different views, so a comparative study was attempted on the Korean and Japanese movies.