점령지의 영화와 검열 장(場)의 구조: 스크린을 둘러싼 제도, 담론, 실천의 변곡점들 = Film in Occupied Theater and the Structure of Its Censorial Field: Inflection Points in Institutions, Discourses, and Practices Surrounding the Screen

다국어 초록 (Multilingual Abstract)

This study aims to construct film screening lists from the immediate post-liberation period under the US Military Government and cross-analyze them with archival materials to trace the transformation of institutions, discourses, and practices surrounding screens in the occupied territory, thereby redefining the nature of USAMGIK film policy. Existing film historiography has characterized the US Military Government's policy - spearheaded by the Central Motion Picture Exchange (CMPE) - as a cultural imperialist project aimed at market domination through Hollywood's film offensive. However, this study's empirical analysis demonstrates that, while the US Military Government initially advocated the abolition of prior censorship and espoused liberal principles, it faced a severe vacuum in psychological warfare owing to the absence of substantial reorientation programs and the undersupply of Hollywood films. By contrast, the Soviet Union strategically distributed war films through its consulate that promoted its image as a liberating force, thereby establishing cultural hegemony in the liberated space. Against this backdrop, this study reveals that the coercive theater control and censorship revival embodied in ‘Ordinance No. 68’ and ‘No. 115’ constituted paradoxically not a response to film oversupply but rather precipitous defensive measures arising from structural deficit. Unable to secure cultural consent through film abundance, the US Military Government imposed draconian institutional controls to forestall the appropriation of theaters as leftist propaganda venues. In sum, USAMGIK film policy was less a coherent project of cultural colonization than a defensive and contingent mechanism deployed to navigate the ideological battlefield amid Cold War geopolitical flux and material scarcity.