최인규 영화의 불균질성 = 영화사적 의미를 중심으로

다국어 초록 (Multilingual Abstract)

This paper deals with how to read the heterogeneity of Choi In Kyu's film in terms of 1940's film history.
The heterogeneity of Choi In Kyu's film can be considered in two ways.
The one can be considered through inner textual heterogeneity. Inner textual heterogeneity is found in 〈An Angel without a House〉(1941). In this film, the ending sequence that all recite the empire-subject vows does not fit to the whole plot. Most film historians judge this film pro-Japanese due to this ending sequence, but I think the main plot of this film is unrelated to pro-Japan. That is why I would like to call it a pro-Japanese texture. The pro-Japanese texture is just the effect of political main stream and (the main plot of) the film as a product was planned to flatter the trend of that period.
The other can be considered through outer textual heterogeneity of Choi In Kyu films. The outer textual heterogeneity is concerned with pro-Japanese trilogy and liberation trilogy. This kind of heterogeneous film world made him judged as an opportunist. But this judgement is due to an error and the absence of verification. Some historians regarded one work as two different works or guessed the main theme of a film from only the title even without seeing it. Moreover pro-Japanese film-makers didn't seem to be asked any kind of atonement or penitence for their pro-Japanese behavior after the 8ㆍ15 liberation. 〈Hurrah for Freedom〉(1946) was also rather a liberation film than a planned film as a product which was flattering the trend of that period.
In short, the heterogeneity of Choi In Kyu's films can be read as a filmic reflection of the traits of 1940s' and the homogeneity of his film is a planned film as a product flattering the current issue.

목차 (Table of Contents)

• 1. 통사로서 1940년대 한국영화사가 보여주는 단절과 균일
• 2. 최인규 영화의 불균질 양상
• 3. 작품 내적인 불균질-〈집 없는 천사〉에 기입된 친일의 결
• 4. 작품 세계의 불균질
• 5. 맺음말
• 참고문헌
• Abstract