‘노란 피부, 하얀 ‘가면’ 무도회’로서 〈자유부인〉의 충무로 여성 관객성에 관한 분석

주창규(Ju Chang-Gyu) 한국영화학회 2003 영화연구 Vol.- No.21

In this paper I discuss postcolonial female spectatorship in the non-West. As local popular cinema, Chungmuro Cinema is neither global nor national, but subalterm(uneducated and married women(Azooma), urban poor, a labor)' s simple entertainment in 5-60's Korea, and married women were the great part of audience in Chungmuro cinema specially. It had been a commercial success of Madame Freedom(Han Hyung-mo, 1956) that allow the industrial base of Chungmuro cinema, after the ruin of Korea War. I analyze female spectatorship in Madame Freedom, as 'yellow skin, white masquerade' which are mixing with postcolonialism(Fanon and Bhabha, 'black skin, white mask') and feminism(Riviere and Doane, 'masquerade'), race and sexuality. After war, post-colonial male elite needed fetish which disavow castrated national identity and colonial modernization. So I discuss the moment of genered subaltern's gaze which peneterate colonial modernization as the obverse, 'yellow skin white mask' as the fetish(that was endowed genderd subaltern with), and the aporia of modernity. But Chungmuro female audience experienced liberated but painful histories which were 'subaltern pasts' (Ckakrabarty), the limit and border of disciplined history, through vernacular modernism(Hansen) and open memory(Cixous) in Madame Freedom. Also it was the moment that is 'radically different' modernity of the subaltern, neither colonailsim nor nationalism. Then Madame Freedom had been the alternative public sphere which empowered genderd subaltern. As alter/native modernity, Chungmuro female spectatorship was coevalness with colonial modernization.

분열되는 나운규의 신화와 민족적인 아나키즘 영웅의 탄생, 1920년대 영화소설에 나타난 나운규의 스타이미지 연구

주창규(Ju Changkyu) 한국영화학회 2012 영화연구 Vol.0 No.54

In this paper, I discuss the "untold Na Un-kyu"s myth" and Na"s star image of cine-roman in colonial Chosun 1920s. For this project, I contextualize Na"s authorship in the chosun film industry and analyze the process of building myth about national anarchist hero of Na Un-kyu through mass culture in 1920s. First, as Na"s authorship is not polarized between genius artist and action popular movie star in the previous study, it has the spliting process of the dillema, which is the film auteur and action movie star. Second, Na"s myth was building not only by film historian of right nationalism, but also by mass culture(ex. cine-roman) of colonail Chosun in 1920s. For example, in Tal-Chum(1926, Sim Hun) and Seung-bang-bi-kok(1927, Choi Dok-keon) Na"s star image was developing and concretizing intertextualy, which originally sourcing in Arirang(1926, Na Un-kyu). Third, in cine-roman, Na"s star image was building of the national anarchist hero, who can escape the pitful lover in the crisis of the modern. Four, in Tal-Chum and Seung-bang-bi-kok, the failure of nostalgic narcissism and the impossibility of social intergration was the cultural expression which was internalizing the failure of 3.1 independent movement and the rejection of the assimilation by Japan colonial government.

충무로 로드무비 장르 연구

주창규(Ju Chang Kyu) 한국영화학회 2007 영화연구 Vol.0 No.34

This paper attempts to identify the aesthestic and historicity of Chungmuro road movie genre, which is consisted by two men and one woman's traveling narrative and image through the analysis of The Road to Sampo(1975, Lee Man-Hee), Declaration of Idiot(1983, Lee Jang-Ho), and Whale Hunting(1984, Bae Chang-Ho). For this project, firstly, this paper understands the abject sense and character of that genre as the abjection(Julia Kristeva) of Korean military dictatorship. So we can position the historicity of that genre as the abject of dictatorship, which is not subject nor object. Secondly, this paper analyses three text's narrative and image through 'family romance'(Sigmund Freud) and 'landscape'(Karatani Kojin). Consesquently, this paper suggests Chungmuro road movie genre's historicity as disillusion and revenge against dictatorship state, and transnational desire, that is differented from exploring new national identity of Hollywood road movie genre.

무성영화 〈아리랑〉의 탈식민성에 대한 접근

주창규(Ju Chang-kyu) 한국학중앙연구원 2007 한국학 Vol.30 No.1

'근대의 선정주의'로서 신파극의 변형과 연쇄극의 출현에 대한 연구

주창규(Ju, Chang Kyu) 한국영화학회 2012 영화연구 Vol.0 No.51

In this paper I discuss the emergence and aethestic of the Yeonsae drama in the context of the transformation of the Sinpa drama and the sensationalism of the modern. Consequently I propose the revised understanding of the Yeonsae drama below. First, it is time to appearing and contesting of various sensationalisms of the modern in 1910s, that is considered to the peroiod of the colonial domination of the military force by Japan imperialism. Second, Yeonsae drama was not the imitation of Rensgeki(Japan), but the result of the situation of the Sinpa drama’s industrial collape, the competition of Umigwan and Danseongsa around the initiative of the box office, and the passion and the effort of Chosun filmmaker(Park Seungpil and Kim Dosan). Third, Yeonsae drama is not the “metamorphsis of theater”(Yun Baiknam), but the vernacular modernism, which was the formation by new experiment of Sinpa drama and was the result of reception of American serial film’s sensationalism. That is the experience of the new sense by the modern. Fourth, that Yeonsae drama is the origin of Korean cinema is not attributed to the appearance of Korean people in silver screen, but the refraction and the amplification of the sensationalism by the Yeonsae drama.

‘이행적 친일영화’(1940~1943)로서 〈집 없는 천사〉의 이중 의식에 대한 연구

주창규(Ju Chang Kyu) 한국영화학회 2010 영화연구 Vol.0 No.43

The discussion about Angel without a House(1941, Choi In-kyu) was polorized as 'national realism' and 'pro-Japanese cinema.' In this paper, I attempt to identify the feature and pecularity of that film and analysing the context of the colonial culture industry in fascsim, the form of the text, and the spectatorship, locating various dualities of that film which is consisted of 'propaganda/entertainment,' 'nationalization/industralization,' 'vouyerism/exhibitionism,' and 'social Darwinism/Lamarkianism.' Consequently this paper suggests below. First, in Angel without a House the feature of the 'pro-Japanese' is not satisfied by Japan colonial administer, because that is driven by the desire for industralization, not the ideology for Japan imperialism. So transitional Pro-Japanese Cinema (1940~1943) is the dynamic product which hope to consume the rule of the 'New Regime.' Second, the realism of the Angel without a House is attributed to desire exhibitionism by Chosun people. But that exhibitionism can not invite the vouyerism of the State in this film, by the peculiar form and 'aestheticized politics' of the colonial fascism. Third, in this film the oscilliation between 'social Darwinism' and 'Lamarkianism' is attributed to recensorship by Japan colonial administer.

문예봉, 발명된 ‘국민 여배우’의 계보학

주창규(Ju Chang Kyu) 한국영화학회 2010 영화연구 Vol.0 No.46

This paper attempts to identify the reputation of the Mun Yie-Bong, 'the national actress.' Using the genalogical analysis(Michele Foucault) for this project, I analyse the discourse of the female actress, the context of Chosun cinema industry, ctritic, and sepctatorship on the Colonial Chosun from 1920s to 1940s. Consequently this paper suggests below. First, as the 'new subject' 'silver screen actress' was the public women which allowed to 'social mobility' for 1920s early. So she were different to 'the traditional woman,' the modem 'new woman,' and the 'theater actress.' Second, 'power technology' attempted to discipline the 'silver screen actress' from 'new subject to 'docile body' by the discouse porduction of the 'silver screen actress,' which is consists of 'surveillance technoloy,' 'reference technology,' and 'confess technology.' Third, the priviliged star image of Moo Yie-Bong as the 'national screen acress' was the result and the product of the successful internalization the 'power technolgy,' which is intended to discipline the 'silver screen actress' as the 'new subject.' Fourth, adding on the the successful internalization the 'power technolgy,' the priviliged star image of Mun Yie-Bong as the 'national screen acress' was overdetermined by the context of the 'Chosun Cinema institution' which is consists of film industry, critic, and spectator for 1930s. In 〈Wanderer(Nageune)〉(1937, Lee Kyu-Hwan), the priviliged star image of Mun Yie-Bong as the 'national screen acress' was comlpeted to silence and desexual female close up shot by 'Kuleshov effect of the silence,' that is the trade mark of Mun Yie-Bong as the 'national screen acress.' Fifth, for Japanese imperialism the priviliged star linage of Mun Yie-Bong as the 'national screen acress' was mobilized and appropriated at the 'transitional pro-Japanese cinema(1940~l943) (for example, 〈Volunteer (Ji-wonbyeong)>(1941, An Seok-Young) and 〈Straits of Joseon (Joseonhaehyeob)>(l943, Park Ki-Chae)). But Japanese imperialism was also challenged by the appropriation of the priviliged star linage of Mun Yie-Bong as the 'national screen acress.' In sum, while the subjectification of Mun Yie-Bong as the 'national screen acress' was the object of 'power technology,' the performativity of the objectification was cause to the failure of the power regime.

버나큘러 모더니즘의 스타로서 무성영화 변사의 변형에 대한 연구

주창규(Ju Chang Kyu) 한국영화학회 2007 영화연구 Vol.0 No.32

In this paper, I attempt to identify the historicity of Byeonsa(the live narrator of silent cinema in colonial Chosun) as the star of Vernacular Modernism(Miraim Hansen). Generally, Byeonsa was criticized as premodern figure of Chosun film industry and film art by native film critics, and was criticized as impurities of cinema by native scholar. On the other hand, it was essentializely misrecognized as modernism(the other of classical cinema) by west scholar(Noel Burch). Alternatively, this paper deals with the historical transformation of 'Byeonsa as institution' from the object of worship to the the object of a scandal, and expalins it by competing and resisting the sound of vernacular space against the hegemonic modem temporality in colonial Chosun, according to four contexts(1. Film aesthetic which is relate to classical Hollywood cinema. 2. Censorship for colonial domination of Japan. 3. The undevelopment of film industry. 4. Vernacula spectatorship which were both early and classical cinema asynchronously). Consequently, this paper suggests the resoration of th subaltern voice and vernacular modernism through the sound of the audience and Byeonsa in colonial public sphere and silent cinema.

‘한국영화 르네상스’(1997~2006)의 동역학에 대한 연구

주창규(Ju Chang Kyu) 한국영화학회 2011 영화연구 Vol.0 No.50

In this paper I attemt to identify the dynamic of the Korean cinema renaissance(1997~2006). Firstly, it is important to rocognize the Korean cinema renaissance as the complexive cultural phenomenon which is consisted and overdetermined by ‘the industrial renaissance’ and ‘the aesthetic renaissance’. Secondly, I propose the periodization of the contemporary Korean cinema history, which are three phaes that are the period of the depression(1970s~1980s early), the period of the modernization(1980s middle ~ 1990s middle), and the period of the advanced modernizstion(1997~2006). And I analyze the the complexive cultural phenomenon of the Korean cinema renaissance as the dislocation of ‘the industrial renaissance’ and ‘the aesthetic renaissance’. Thirdly, I analze the dynamic of ‘the industrial renaissance’ as the combination of the the high modernism and the financial capital in the film industry. Fourthly, I analyze the dynamic of the the aesthetic renaissance as the discursive transcoding(Michael Ryan) of the late democracy(Dipesh Chackrabarty) in contemporary Korean society. The charateristric of the aesthetic in Korean cinema renaissance are the radical experiment of the film form, the desire which deconstruct the authority as the threating of the power, the proliferation of the rebellious film genre, the creative appropriation of film genre that is the deconstructive rewriting. Those are the transcoding the discursive formation of the Korean society in late democracy. Consequenty the Korean cinem renaissance is the various effect of the constellation, that is driven by the collision between the industrial renaissnce as the finanscape and the aesthetic renaissance as the ideoscape in Korean society.

영화 〈무정〉의 각색에 나타난 박기채의 작가성 연구

주창규(Ju Chang Kyu) 한국영화학회 2011 영화연구 Vol.0 No.48

In this paper, I attemt to identify Park Ki-chae’s authorship in the adaptation of Heartlessness(Mu-jeong). Firstly, I compare and analyse the articulating of the plot between Lee kwang-Su’s original novel Heartlessness (Mu-jeong)(1918) and Park Ki-Chae’s scenario Heartlessness(Mu-jeong) (1938). Secondly, I analyse the Park’s authorship as the overdetermined effect of three phase, which are Park’s individual personality as the film director, the specialization and dividing of Chosun cinema industry, and the emergent female reader-spectatorsip as the consumer-suject. Consequently, this paper suggests below. First, there are six charateristics in the adatation from original novel to scenario, that are ‘the reduction of the quantity’, ‘the reduction of the quantity with specific intention’, ‘the elimination of the enlightment,’ ‘the reduction and transformation of the popularity,’ ‘the enlargement and transformation of the passing-time’, and ‘the replacement from the melodramatic mode to moderated style.’ The mode of the adatation from original novel to scenario is the the feminization of Heartlessness(Mu-jeong)(1918). Second, the feminization of Heartlessness(Mu-jeong) is attributed to Park’s individulal personality that is the combination of Park’s spirit of author and his ability of welladdressing to female audience. Three, the feminization of Heartlessness (Mu-jeong) is also attributed to the specialization and dividing of Chosun cinema industry, developing woman’s film genre by studio production system. Finally, the adapion of Heartlessness(Mu-jeong) is the attempting to articulate the emergent female reader-spectatorship and ’sexual modernism’ in colonial Chosun.