역사와 고구려 드라마 ‘연개소문’|RISS 상세보기

다국어 초록 (Multilingual Abstract)

Everywhere we look, it is apparent that television dramas have become a cultural product enjoyed by the masses, a phenomenon that has become a symbol of pop culture today. But historical dramas have set themselves apart from other dramas by virtue of the ability provide historical knowledge to the audience, and naturally, has an influence that far outstrips any history book. It is because of this that no serious historian can stay ignorant or indifferent to production of historical dramas.
Because of its portrayal of a controversial historical character from Korean history and the great war between the ancient Korean state of Koguryo against Sui and Tang dynasties of China, Korean audiences flocked to watch 〈Yongaesomun〉, a 100-episode historical drama produced and broadcast by Seoul Broadcasting System from July of 2006 to June of 2007, which maintained a high viewer rating during the duration of the broadcast. Yet despite declaration from the producers of 〈Yongaesomun〉 that their drama would faithfully take actual historical events into account, the drama never quite lived up to that promise.
The problems with 〈Yongaesomun〉 are manifold, but can be divided to four major aspects.
The first and the most outstanding error concerns the arrangement of the script itself. Aside from episodes 1 and 2, which formed the introduction, episodes 3 to 54 formed the first half, and the rest (episodes 55-100) formed the second. Yongaesomun himself, the namesake for the entire drama, was actually the main character only ill the second half.
The writer's biased interest in a specific part of history made Yangdi of Sui the central figure if the first half, with Yongaesomun relegated to a minor role. Such an arrangement is an error of monumental proportions, for Yangdi and Yongaesomun have never personally met each other and, more importantly, lived generations apart. A mistaken attempt to connect the two characters mixed up the actual order of historical events as well as seriously skewing the relationships between the major characters. A warped timeline became a critical error that doomed any claims about 〈Yongaesomun〉 as a serious historical drama.
The second error is no less glaring, in that it bent basic historical fact. Aside from the changing of order of historical events mentioned above, the roles assigned to a number of characters revealed wide discrepancy with the actual role they played in history. Though there is room for imagination or certain amount of fiction in a drama, a historical drama is different in that the basic facts that form the background of the story must adhere to the truth. Anything that allow pieces of fiction that contradict basic fact to enter the story line, is at best historical fusion or fantasy, and has no right to be called a historical drama.
Third, the drama was dripping with fatalism and the writer's hero worship. The fatalism that was revealed many times in the drama, which claims that there are things in history that happen no matter what happens, is perhaps the greatest obstacle to proper understanding of history. In addition, excessive hero worship, overemphasis on masculinity, and a historical perspective bordering on chauvinism obviously prevented the writer from objective understanding of why things happened the way they did and why other things did not.
Fourth, the writer exhibited an appalling lack of creativity by utter inability to bring new characters to life, rather relying on heavy borrowing from other literature. It was highlighted by the fact d1at personalities and appearance of many characters did not resemble the people of Koguryo, but instead were copied from epics from other countries, Writers of good dramas must consider research into the diversity of human nature his or her main responsibility, to discover the various natures and characters in real life. By choosing to borrow and copy rather than create characters, a historical drama supposedly abo

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