심훈 소설에 나타나는 음악적 기법 연구

권철호 ( Kwon¸ Cheol-ho ) 심훈학회 2023 심훈학보 Vol.1 No.0

The purpose of this article is to study the musical techniques in Shimhoon’s novels. Shimhoon has been evaluated as a comprehensive artist who worked in poetry, novels, and movies, but his important artistic origin, ‘music’, has not received much attention. Shimhoon had a continuous interest in ‘music’ even before he started his full-fledged artistic activities, and this is also shown in his debut short story, The Consolation of Suffered Spirit In The Hymn. In this work, Shimhoon uses a technique called ‘contrapacta’, a kind of adoptation song, to present his 3.1 Movement experience. The writer uses the melody that uses the contrapacta technique to remind the reader of another lyrics that do not appear on the surface of the novel and uses this technique to avoid censorship at the time. The contrapacta technique also appears in the movie novel T'alch'um and the scenario When the sun rises. In addition, Shimhoon uses a specific melody as a ‘leitmotif’ in his novels and reminds the reader of a specific emotion through it. Shimhoon’s well-used musical technique is his representative work Evergreen. Park Dong-hyuk and Chae Young-shin in Evergreen use the songs ‘Love song for hometown’ and ‘Go to Work’ as leitmotifs and convey their theme consciousness through them.

심훈 시의 이원성

장석원 ( Jang¸ Seok-won ) 심훈학회 2023 심훈학보 Vol.1 No.0

There are facts revealed in many literary historical evaluations and studies. Novels and movies were the subject of more interest and evaluation than poetry among Shimhoon's works. It is possible to speculate that poetry was a secondary and secondary object of creation for Shimhoon. There are many works that deviate from the perspective of Shimhoon's poetry evaluation that we knew. There are still many unknown works that reveal the other side of Shimhoon that we did not know, and the inner scenery of Shimhoon that was not revealed. This cannot be concealed. This should not be concealed. In order to know the full nature of a poet, we focus on new aspects that were not seen in existing evaluations. Shimhoon's poem has two characteristics that reveal the characteristics of the patriot and the characteristics of the the young. This paper identifies these characteristics as 'patriot-outer face' and 'the young-inner face'. It is the structure of the thesis's subject word 'dualism'. The loneliness that resonates inside Shimhoon, who intends to devote his whole body to patriotism, expresses Shimhoon's ego. He was also an ordinary young man. The stronger the hope, the stronger the despair. The more fervent the cry, the colder it sinks. Two ambivalent emotions dualize Shimhoon's poem. For Shimhoon, poetry was an object that revealed the waves of emotion he felt. His poems are composed of 'fierce and frenzy'. Behind the scenes, there is a clear hope and sigh.

영화감독 심훈의 영화예술에 대한 인식 고찰

박정희 ( Park¸ Jung-hee ) 심훈학회 2023 심훈학보 Vol.1 No.0

There are various subjects that make up the artist Shimhoon. He has performed artistic activities in various fields such as poet, novelist, (literary) reporter, broadcaster, and film director. In this article, I looked at Shimhoon’s aspects as a filmmaker (film director). Shimhoon confessed that he lived with a dream of film production as a film director, and he was a filmmaker who did not give up his desire to make films even while creating poetry and novels. As film director Shimhoon deepened his understanding of comprehensive art and film art, which is a collection of modern capital and technology, despair he experienced in the reality of film production in colonial Joseon inevitably deepened. The perception of the limitations of national capital and its despair eventually became a driving force for Shimhoon to further strengthen his resistance to the reality of colonial Joseon. This is why it is detected in Shimhoon’s poems and novels. On the other hand, Shimhoon’s understanding of film art and the nature of film aesthetics he wanted to produce are based on the contents of German early expressionist films and French impressionist film aesthetics. However, Shimhoon’s learning and understanding of the aesthetics of expression in film art came from the perspective of a film director, not a writer or film critic. In this paper, Shimhoon’s article, which expressed the value of the German film The Last Laugh(1924), was analyzed to confirm the perception of the expression aesthetics of film art and to examine the nature and meaning of his scenario Daegyeongseong Rhapsody(1928). Daegyeongseong Rhapsody corresponds to the result of cinematic imagination that transcends the level of film production technology of the time. This is because it was written in the imagination of a future complete with a ‘technical level’ that can maximize the autonomy of film art. However, the imagination and language are different from the ‘literary imagination’ in that they are established under complete conditions of ‘technology’ for filmization. As a result, it can be confirmed that Shimhoon’s perception of film art and his film language were built on the basis of his perception of capital-(science) technology that supports the aesthetics of expression in movies.

심훈의 시조에 대한 인식과 작품 세계 - 시조 형식과 작품 세계의 변화를 중심으로

김광조 ( Kim Gwang-jo ) 심훈학회 2024 심훈학보 Vol.3 No.0

The purpose of this article is to examine changes in the perception of Shim Hoon’s sijo form and what trends his world of sijo shows. In the poems published during the study period and in the June issue of Samcheonli in 1931, Shim Hoon used the form of sijo during the Enlightenment period without considering about the form of the sijo. It shows a monotonous rhythm that consistently maintains the equivalence of the tetrameter meter throughout the first, middle, and final poetry line. Then, in 1932, the beginning of the change was shown through the sijo works cited as examples in “Direct Comments on Puro Literature 1, 2, 3”, and in the handwritten manuscript Simhun Poetry Collection, it was changed from the simple four-note rhythm shown in the previous format, it appears that the general sijo ending rule of ‘Soeumbo―Gwaeumbo―Pyeongeumbo―Soeumbo’ has been established. In addition, Shim Hoon’s sijo’s tendency to express his feelings or convey his experiences through forming relationships with poetic objects is clearly revealed in the works included in his studies and “Hangzhou Yugi”. Then, in the work that sings about the reality of rural areas created after returning to Dangjin, the reality of rural areas and the lives of the people living there are depicted as if drawing a landscape picture. In other words, captures the joys and sorrows of simple life in a single scene and depicts them realistically. This can be seen as the creative intention to sing and record real life through sijo, the ‘new soul’ of sijo that Sim Hoon advocated in “Direct Comments on Puro Literature 1, 2, 3”.

영화 <상록수>에 나타난 길의 형상과 그 의미에 관한 연구 - 신념과 선택으로서 길의 의미를 중심으로

김남석 ( Kim Nam-seok ) 심훈학회 2024 심훈학보 Vol.3 No.0

The film < Evergreen Tree (Sangnoksu) > is a literary film (Cine Novel) adapted from the novel of the same name by Shim Hoon and produced according to the scenario. In 1961, Shin-Film produced < Evergreen Tree (Sangnoksu) >, directed by Shin Sang-ok and starring Choi Eun-hee and Shin Young-kyun. This film focused on transferring the original work’s rural enlightenment ideology to the screen, and in the process, focused on preaching the importance of social work and education. Since its release in 1961, it has been evaluated as a faithful visualization of the original work, and these characteristics have been noted in subsequent studies. This study acknowledges the results of previous studies, but focuses on the process of visualizing the ‘road’ reborn on the screen by director Shin Sang-ok. In the original novel, the spiritual path of belief and choice was expressed as a physical, visual, and aesthetic path in a literary film(Cine Novel) < Evergreen Tree(Sangnoksu) >. This process of visualizing the path served the function of showing on the screen the life goals and spiritual beliefs chosen by Yeongsin and Donghyeok, as well as the ideological path as a result of that choice.

심훈 소설 『상록수』의 영화적 장면(scene) 구성 전략

임정식 ( Im Jeong-sig ) 심훈학회 2024 심훈학보 Vol.3 No.0

The background for examining the cinematic scene composition strategy of the novel “Evergreen” is related to the fact that Sim Hoon had a sense of self as a “filmmaker” and that he actually engaged in all-out activities related to cinematography. While writing “Evergreen”, Sim Hoon hung the megaphone he used at the time of directing the film “When the Dawn Comes” on the wall, adapted the novel into a screenplay as soon as the novel was finished, and ran around trying to make it into a film. In other words, Sim Hoon had filmmaking in mind while writing “Evergreen” and in fact, the novel “Evergreen” contains many cinematic expression forms. The cinematic scene composition strategy inherent in “Evergreen” is first revealed in terms of space. Film is a medium in which the actions of characters and events occur around space, but Sim Hoon frames a specific space in “Evergreen” and describes it as a scene from a film. The scenes of the 60th birthday party at Hanangcheong house and the Dure at Nongwoo Hall are notable examples of ‘spatial scene composition.’ “Evergreen” implements a three-dimensional mise-en-scene using complex senses such as music, dance, and close-up in a fixed space. Also, in Chapter 1, the process in which Park Dong-hyeok and Chae Young-shin walk from the Social Hall to the subway station to the Gamyeong intersection to the dormitory utilizes cinematic narrative techniques such as spatial movement and linear narrative development. “Evergreen” also utilizes cinematographic techniques. The scene where Park Dong-hyeok and Chae Young-shin go on a date at Hangokri Beach expresses cinematographic and editing techniques such as tilt shooting, point-of-view shots, and flashbacks in sentences. Also, the beauty of nature, such as the moonlight just before the full moon and the white sand, is expressed with descriptions that maximize visual imagery. “Evergreen” is a novel centered on enlightenment and romance. In general, Sim Hoon utilizes cinematic scene composition strategies such as spatial sceneization, spatial movement, and linear development in the parts related to enlightenment. And in the love scenes, he uses various cinematographic techniques and visual images to explain the inner self and situations of the characters. As such, “Evergreen” is a work that contains various forms of cinematic expression that Shim Hoon, a “filmmaker,” attempted with cinematography in mind. These characteristics of “Evergreen” are based on Sim Hoon’s actual film experience.

일제강점기 표현주의, 혹은 아나키즘적 프로미술론의 행방 - 심영섭 약전

김종욱 ( Kim¸ Jong-uck ) 심훈학회 2023 심훈학보 Vol.1 No.0

The first exhibition of the ‘Green Hometown Association’, an art group formed in December 1928, attracted the attention of many people. In particular, there were mixed opinions for and against the work of Sim Yeongseop, who led the group with Kim Ju-kyung. This was because his works do not follow the law of perspective and are drawn in an experimental form, such as writing poetry in the picture. Regarding this, Ahn Seok-ju and Lim Hwa were critical, while Lee Tae-jun was favorable. These conflicting attitudes originated from the clash between the realist view of art, which views art as a ‘representation’ of the objective world, and the expressionist view of art, which views art as an ‘expression’ of the artist’s inner world. After the 1st exhibition, Sim Yeong-seop published “Art Theory of Asianism”, in which he directly expressed his view of art. In this article, he argued for a return to human-centered culture developed in the East, escaping from mechanistic Western civilization (including Japan, which achieved western modernization in East Asia). This argument, which contains the actual meaning of ‘green hometown’, can be seen as politically connected to anarchism. Entering the 1930s, such anarchism and expressionist art gradually withered away, and Sim Young-seop stopped creating paintings and returned to his hometown. Kim Yong-jun and Lee Tae-jun also took an attitude as if they had returned to tradition rather than insisting on an experimental spirit. However, as can be seen from Jang Seung-eop’s works, which they recognized as a pictorial tradition, their aesthetic standards were still based on expressionism. If we look at Lee Tae-jun in the context of expressionism, we will be able to understand anew how he led a group of modernists in the 1930s or joined the People’s Front in the literary world after 1945.

한국 시집 서문의 변이 양상 고찰 - 근대 초기 발간(1900∼1929) 시집을 대상으로 이전 시(가)집과 비교 검토

김정훈 ( Kim Jeong-hun ) 심훈학회 2024 심훈학보 Vol.3 No.0

In this paper, I investigated the current status of poetry collections published in the early modern period of Korea (1900-1929) and examined how the preface in this collection differs from the preface of the previous era. A total of 52 poetry collections were published during that period, and I collected and reviewed 42 available books. Compared with the preface to collections of writings and poetry collections from the previous period, the preface to poetry collections in early modern Korea is differentiated not only from the writer of the preface but also from the basic goals it aims for. The preface to existing poetry collections was written by a prestigious or close person of the time, and its contents also focus on allowing readers to have preliminary knowledge about poets and poetry collections through an introduction (motivation, origin, value, etc. for writing the book). On the other hands the preface to poetry collections published in the early modern period is the poet’s launch and self-confession, and at the same time plays a role in previewing the outline of the work. Here, the preface to poetry collections published in the early modern period makes various attempts to show differences from the preface to poetry collections in the previous period. These include ① introduce of explanatory notes and change in a variety of ways ② the appearance of the author’s preface ③ the transition to the preface written in poetry ④ add the preface to the second edition ⑤ write tribute and acknowledgment ⑥ add epigraph, epigram and suggestions. This change in the preface to early modern poetry collections was based on changes in the overall creative and publishing environment, the creation of a new literary field with the influx of modern Western literature, acceptance of commercialism, strengthening author consciousness, and the desire to express new knowledge.

1930년대 한국, 중국, 일본 영화에 표상된 근대적 신체의 행위 분류 - 한국영화<미몽>(1936), 중국영화<대로>(1935), 일본영화<태어나긴 했지만>(1932)을 중심으로

지승학 ( Chi Seung-hak ) 심훈학회 2024 심훈학보 Vol.4 No.0

근대적 신체의 유형은 동아시아 3국(한, 중, 일) 공히 열강의 자본주의와 물질주의의 유입에 따른 사회적 변화와 밀접하게 연관되어 있다. 이를 반영한 근대적 신체의 행위와 이동성은 당시 시각문화를 근본적으로 뒤흔든 영화 카메라 담론과 영화의 이른바 장르 문법 체계 속에서 구체적으로 재현되었다. 본 논문은 영화의 카메라와 영화 장르 문법은 왜 신체 행위에 있어서 다른 무엇보다 명료하게 작동하는 가라는 물음보다 그 안에 포착된 신체 행위가 가져오는 신체 표상을 통해 국가별로 다르게 투영되어있는 의미적 차이와 그 기저에 놓여 있는 문화적 토대를 검토하려는 목적을 갖는다. 결과적으로 이러한 차이가 발생하는 이유 중 하나는 당시 서구 담론의 불가 항력적 유입 사태로 인해 사회 문화적 격변이 초래되었고, 그 파장은 국가적 상황(이데올로기)과 개인적 상황(근대적 신체)을 더욱 정교하게 연결짓게 했다는 것이다. 본 논문은 이러한 가설을 설명하기 위해 1930년대의 한국영화와 중국영화 그리고 일본영화에서 각각 한 작품을 선별해 분석한다. 다만, 본 논문의 한계로는 한국영화의 경우 당시 영화 아카이브의 많은 유실과 상대적으로 적었던 제작편수 등의 이유로 사회문화적 파장이 반영된 영화를 신빙성 있게 선별하여 제시하지 못한다는 점을 들 수 있다. 이는 본 연구 과정에서 얻은 한국 영화영상 자료의 중요성과 아카이브 구축의 필요성을 부각하는 일이라고 할 수 있는바, 또 하나의 영화 사회학적 결론이라고 할 수 있다. The modern corporeal type is closely linked to the social changes brought about by the importation of capitalism and materialism by the great powers in the three East Asian countries (Korea, China, and Japan). The mobility of the modern body, which reflected this, was concretely reproduced in the discourse of the film camera and the so-called genre grammar of cinema, which fundamentally shook the visual culture of the time. This paper aims not to ask why the film camera and film genre grammar operate more clearly than others in the representation of the body, but rather to examine the semantic differences and underlying cultural foundations that are projected differently across countries through the representations of the body captured within them. Consequently, one of the reasons for these differences is that the indiscriminate arrival of Western discourse at the time led to socio-cultural upheavals, the repercussions of which further elaborated the link between the national situation (ideology) and the individual situation (the modern body). To illustrate this hypothesis, this paper analyses one film each from Chinese, Japanese, and Korean cinema of the 1930s. However, a limitation of this paper is that it is not possible to reliably select and present films that reflect the socio-cultural impact of Korean cinema due to the loss of many film archives and the relatively few films produced at the time. This is another film sociological conclusion that highlights the importance of Korean film footage and the need to build an archive.

OTT 콘텐츠 자체 등급 분류제의 도입과 영향

이수향 ( Lee Su-hyang ) 심훈학회 2024 심훈학보 Vol.4 No.0

지금의 영화 시장은 영화적 경험의 성격 변화 그리고 관객의 영화 관람 취향의 이동까지 다양한 방향성에서 전환점에 서 있다. 코로나로 인한 팬데믹 사태 이후, 극장에서의 영화 관람 경험은 축소되었고 이 틈을 타 넷플릭스의 전세계적인 공급망을 통해 영화를 집에서 큐레이션해서 본다는 개념이 또 다른 영화 보기의 방법으로 대체 되었다. OTT가 본격적으로 영화 산업의 주요 제작 및 배급, 유통망으로 자리잡게 되자, 기존의 ‘영화비디오법’에 포함되지 않는 다양한 변수들에 대한 해결책이 요청되었다. 폭증한 콘텐츠에 대한 공적 승인의 과정과 등급분류 심사를 둘러싼 각론들이 벌어졌고 OTT사전심의제의 철폐에 대한 문제의식이 대두되었다. 근본적으로 ‘영화 및 비디오물 등급분류 기준’ 법령에 따른 등급 분류의 목적은 유해물에 대한 청소년 보호 및 교육에 목적이 있다. 이러한 목적에 맞게 우리나라의 영화 등급 제도의 변화와 영비법의 개정 과정도 진행되어왔는데, 갑작스럽게 대세로 자리잡은 OTT 플랫폼 중심의 업계 환경의 변화는 기존의 등급 분류 제도의 유지에 대한 필연적인 변화를 요구하게 되었다. 변화하는 환경에 맞춰 예술의 자율성 및 산업의 효율성을 제고하고, 공공기관 중심의 심의가 가지는 규제의 성격을 철폐하기 위해서는 신속한 등급분류제도을 운영해야 한다는 것이다. 이를 위해 민간의 자체 심의에 따른 분류제도가 논의되어, 2023년 6월부터로 지정된 사업체들이 개별 콘텐츠의 등급을 자체적으로 분류하게 되었다. OTT 자체 등급 분류 이후 초기 단계에서 드러난 몇몇 특징들을 살펴보고, 정책의 방향성과 시행의 과정이 잘 맞아떨어지고 있는지를 확인해 보았다. 특히 OTT의 자율등급제 시행에 앞서 부작용으로 가장 크게 우려되었던 등급 분류의 유연화 문제와 규정 적절성 위반의 문제 등도 검토해보았다. 본 연구를 통해 자체분류등급 제도의 시행에 있어 국내의 콘텐츠 보호 및 영화 산업계의 심의 민간 이양 문제에 대한 요구라는 현장의 목소리가 좀더 반영되도록 시사점을 제공할 수 있을 것이라 기대한다. The current film market is at a turning point in various directions, from the changing nature of the film experience to the shift in audiences' movie-watching tastes. Since the pandemic caused by COVID-19, the experience of watching movies in theaters has been reduced. The concept of curating movies at home through Netflix's global supply chain has been replaced by another way of watching movies. As OTT has become a major production, distribution, and distribution network for the film industry, solutions to various variables not included in the existing ‘Film and Video Act’ have been requested. There were discussions surrounding the agency's approval process and rating classification review for the explosive increase in content, and concerns about the abolition of the OTT pre-review system were raised. And concerns have been raised about the abolition of the OTT pre-review system. Fundamentally, the purpose of the rating classification according to the ‘Movie and Video Rating Standards’ law is to protect and educate youth against harmful materials. In line with this purpose, the changes in our country's movie rating system and the revision of the Film and Video Act have also been carried out. However, the sudden change in the industry environment centered on OTT platforms, which has become the mainstream, has required inevitable changes to the maintenance of the existing rating classification system. It is necessary to improve the autonomy of art and the efficiency of the industry in accordance with the changing environment. In addition, in order to abolish the regulatory nature of the deliberation centered on public institutions, a rapid rating classification system must be operated. To this end, a classification system based on private self-deliberation was discussed, and from June 2023, designated businesses began to classify the ratings of individual contents on their own. We examined some of the characteristics that emerged in the early stages after OTT's self-rating system and checked whether the direction of the policy and the process of implementation were well aligned. In particular, we reviewed the issue of flexibility in rating classification and the issue of violation of regulation appropriateness, which were the biggest concerns as side effects before the implementation of OTT's self-rating system. We expect that this study will provide implications for better reflection of the voices from the field regarding the protection of domestic content and the deliberation of the film industry into the private sector in the implementation of the self-rating system.