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In the middle of the 1920's, Manwha Fool series in Chosun Ilbo was one of the most important parts of the visual image newly consumed in modern Korean culture, due to its publication of about 700 comic strips over for 3 years as a joint creation by cartoonists and journalists. It was both the first comic strip for adults and the first comic strip consisting of four panels in the newspaper. The capital city of Gyeongseong(京城) was located at the cross-section of modernity and colonialism during the Japanese Colonization of Korea. From the analysis of approximately 550 comic strips related to Gyeongseong, the majority of the modem daily life experienced by the 3 main characters was the street view. They used streetcars, automobiles, and rickshaws on the newly mended road to go the outskirts for picnics and to move quickly through the city. And western-style architectures also entered the screen view. The main aspect of the urban modern life was the consumption culture, i.e., eating out, photography, going to movies and shopping. Even in the discourse on modern housing in the 1920's, the characters lived in traditional Korean houses. Hitherto, the Fool series was criticized as a comic strip that was indifferent to the real colonial life. However, the present study revealed that Fool series presents political opinions over the series. During the Japanese colonization, the main characters, the unemployed and gisaeng(妓生) as the socially underprivileged had to survive the violently changing daily life. Therefore Fool seriesis valuable as a visual record in the history of daily life during the Colonization period.
This study examines the modernity of newspaper serial novel illustrations in the 1920s with the focus on human body expression. During the Japanese occupation period of the 1920s, the change in colonial policies had led to the launch of multiple newspapers as mass media. This quantitative and rapid increase in print arts had become a turning point. The formation of debates surrounding illustration, which had begun at the end of the 1920s, is actually interpreted as the formation of genre conception. However, the production environment was not optimal, and the production teams had commonly included approximately 15 writers excluding unknown illustrators. The illustrations in newspaper serial novel, which had expressed novel narratives with new illustrations on a daily basis, were easily enjoyed by the public compared to other types of art. Because there were very few opportunities to appreciate art in person during this period, Western art and modernity were spread to the public through these illustrations. While the perspectives and methods of Western art were first introduced and accepted through print arts in the past, the human body expressions in the newspaper serial novel illustrations of the 1920s had prominently revealed a sense of Western art and modernity. Anatomical-based human body depictions including nude, skeleton, heart pattern, and amputated body are body visualizations that broke away from traditional art and were newly recognized as modern art, and the mass-produced illustrations of the human body in the 1920s had made the public sense the modernity of the body.