경성(京城)을 배경으로 한 사극(史劇)에 나타난 민족(民族) 담론 = National Discourse in Korean Costume Films with Setting in Capital Kyoungsung

다국어 초록 (Multilingual Abstract)

My aim in this thesis is to study National Discourses in so-called Korean Costume Films with setting in Capital Kyoungsung from 1930s to 1940s. As we all know, Kyoungsung is the capital of Chosun for the period of Japanese imperialism occupation. What is a costume film? According to F. E. Beaver, a costume film is a motion-picture genre characterized by historical pageantry and spectacle. Since the beginning of the film narrative, the costume spectacle has been a commercial mainstay of the screen. In this context, I would like to call these films with setting in Capital Kyoungsung a costume film.
My main point is that while a costume film is based upon fictional events, a historical film is based upon historical facts. As in the past, a historical film with setting in Japanese imperialism seeks to express a national consciousness. However, present costume films have a tendency to fling off an oppressive feeling on historical facts. With this premise, I deal several Korean films with setting in Japanese imperialism. These films are Radio Dayz(2008), Modern Boy(2008), Once Upon a Time (2008), and Shadow Murder(2009). First of all, these films seek to escape from the matrix of The National History. Also these films seek to represent Kyoungsung as a space of play and freedom.
Nevertheless, there is a common feature in these films. That is, these films deal with a question of national discourse unconsciously. The reason that I'm taking notice of such a question is that there is still a ghost of nationalism haunting in these films with setting in Japanese imperialism. According to professor Kim. Kibong, this results from that a historical consciousness of Korean people is still stick to the matrix of The National History.
Externally, these films aimed to express the mood and spirit of modern times and to expose the personal desire of modern boy & modern girl. However, internally, these films were caught in a trap of nationalism, that is, of grand discourse of the national. Therefore, in this thesis my main task is critically to inquiry an obsession of anti-Japanese sentiments, and then, to seek the method to escape from the matrix of The National History. Beyond this matrix, we have to seek diversities of discourse. These films are on the way from the matrix of The National History to the desert of the Real.

다국어 초록 (Multilingual Abstract)

My aim in this thesis is to study National Discourses in so-called Korean Costume Films with setting in Capital Kyoungsung from 1930s to 1940s. As we all know, Kyoungsung is the capital of Chosun for the period of Japanese imperialism occupation. What is a costume film? According to F. E. Beaver, a costume film is a motion-picture genre characterized by historical pageantry and spectacle. Since the beginning of the film narrative, the costume spectacle has been a commercial mainstay of the screen. In this context, I would like to call these films with setting in Capital Kyoungsung a costume film.
My main point is that while a costume film is based upon fictional events, a historical film is based upon historical facts. As in the past, a historical film with setting in Japanese imperialism seeks to express a national consciousness. However, present costume films have a tendency to fling off an oppressive feeling on historical facts. With this premise, I deal several Korean films with setting in Japanese imperialism. These films are Radio Dayz(2008), Modern Boy(2008), Once Upon a Time (2008), and Shadow Murder(2009). First of all, these films seek to escape from the matrix of The National History. Also these films seek to represent Kyoungsung as a space of play and freedom.
Nevertheless, there is a common feature in these films. That is, these films deal with a question of national discourse unconsciously. The reason that I'm taking notice of such a question is that there is still a ghost of nationalism haunting in these films with setting in Japanese imperialism. According to professor Kim. Kibong, this results from that a historical consciousness of Korean people is still stick to the matrix of The National History.
Externally, these films aimed to express the mood and spirit of modern times and to expose the personal desire of modern boy & modern girl. However, internally, these films were caught in a trap of nationalism, that is, of grand discourse of the national. Therefore, in this thesis my main task is critically to inquiry an obsession of anti-Japanese sentiments, and then, to seek the method to escape from the matrix of The National History. Beyond this matrix, we have to seek diversities of discourse. These films are on the way from the matrix of The National History to the desert of the Real.

참고문헌 (Reference)

1 고미숙, "한국의 근대성, 그 기원을 찾아서-민족, 섹슈얼리티, 병리학" 책세상 2009

2 황혜진, "한국영화가 시대를 재현하는 방식-영화의 과거 재현에 관한 몇 가지 쟁점들" 한국영화평론가협회 (21) : 2009

3 이이화, "한국사, 나는 이렇게 본다" 도서출판 길 2008

4 이이화, "한국사 이야기 22-빼앗긴 들에 부는 근대화 바람" 한길사 2008

5 이이화, "한국사 이야기 20-우리 힘으로 나라를 찾겠다" 한길사 2008

6 김기봉, "팩션시대, 영화와 역사를 중매하다" 프로네시스 2006

7 조지형, "역사의 진실을 찾아서-랑케 & 카" 김영사 2006

8 이대현, "역사와 잘못된 만남-1930년대 배경의 <놈놈놈>과 <모던보이>" 한국영화평론가협회 (21) : 2009

9 에드워드 핼리트 카, "역사란 무엇인가 What is History?" 까치글방 2007

10 김기봉, "역사들이 속삭인다-팩션 열풍과 스토리텔링의 역사" 프로네시스 2009

11 김시무, "사극(史劇)과 팩션영화의 경계 - 일제 강점기를 시대적 배경으로 한 영화를 중심으로" 인문과학연구소 (16) : 13-42, 2009

12 한윤금, "모던의 욕망, 일상의 비애" 프로네시스 2006

13 조세현, "동아시아 아나키즘, 그 반역의 역사" 책세상 2008

14 신혜경, "대중문화의 기만 혹은 해방-벤야민 & 아도르노" 김영사 2009

15 Susan Hayward, "Key Concepts in Cinema Studies" Routledge 1996

16 김기봉, "<과거는 낯선 나라다> : 재현의 욕망과 욕망의 재현" 한양대학교 현대영화연구소 2008