소리의 접촉지대로서 <영화시대>와 재현의 정치 = The Politics of Representation through Soundsin Contact Zones in-between Sonic Fields

다국어 초록 (Multilingual Abstract)

This paper attempted to examine the process of sound rediscovered for the language of representation in the colonial Korean literature and art history and the invention of the politics of representation through sound. The rediscovery of sound, which has become a trace organ in modern literature, comes from the process of interaction between literature and film. This paper attempted to confirm that the process was not only a visual impairment in literature, but also a process of rediscovering sound from literature and reality as well as images.
In the early 1930's, when the appreciation of Western talkie films was dominant, it was urgent to discover our words or sounds from literature to solve the problem of local specificities raised by talkie films. In this process, the film was focused on restoring and accumulating sound through the genres of vocal poetry, folk songs, poetry, and contemporary songs. This paper confirms this through the composition of the papers in the early publishing of the Film Age, which emerged during the transition to talkie film. It was clearly close to a control over the tendency of modern literature to lose sound and a new language of representation in the contact zone of literature, film, silent film and talkie film.
If the restoration and accumulation of sound through pre modern and modern literature is related to the possibility of sound as the language of representation, the problem of writing and embodying sound in talkie films was the process of inventing the politics of representation through sound. What was noteworthy in the process of debate between pro and tendency film among socialist film discourses during this period was the question of what the film would say to the real public of colonial Korea. It was linked to this situation that the accumulation of sounds from literature in the early days of the Film Age and the imagination of sounds close to the screams of the masses were represented. The imagination of attempting to use the voice of the public as the language of representation in the wake of the emergence of talkie films carries out the politics of representation in that it was a desire for our film that we had never had in between the flood of Western cinema and Japanese control.

국문 초록 (Abstract)

소리, 무성영화,This paper attempted to examine the process of sound rediscovered for the language of representation in the colonial Korean literature and art history and the invention of the politics of representation through sound. The rediscovery of sound, which has become a trace organ in modern literature, comes from the process of interaction between literature and film. This paper attempted to confirm that the process was not only a visual impairment in literature, but also a process of rediscovering sound from literature and reality as well as images.
In the early 1930's, when the appreciation of Western talkie films was dominant, it was urgent to discover our words or sounds from literature to solve the problem of local specificities raised by talkie films. In this process, the film was focused on restoring and accumulating sound through the genres of vocal poetry, folk songs, poetry, and contemporary songs. This paper confirms this through the composition of the papers in the early publishing of the Film Age, which emerged during the transition to talkie film. It was clearly close to a control over the tendency of modern literature to lose sound and a new language of representation in the contact zone of literature, film, silent film and talkie film.
If the restoration and accumulation of sound through pre modern and modern literature is related to the possibility of sound as the language of representation, the problem of writing and embodying sound in talkie films was the process of inventing the politics of representation through sound. What was noteworthy in the process of debate between pro and tendency film among socialist film discourses during this period was the question of what the film would say to the real public of colonial Korea. It was linked to this situation that the accumulation of sounds from literature in the early days of the Film Age and the imagination of sounds close to the screams of the masses were represented. The imagination of attempting to use the voice of the public as the language of representation in the wake of the emergence of talkie films carries out the politics of representation in that it was a desire for our film that we had never had in between the flood of Western cinema and Japanese control. 발성영화, 접촉지대, 『영화시대』, 경향영화, 재현의 정치학

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