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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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초록· 키워드
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This study presents an investigation into the issues of film censorship during the Park Chung-Hee regime in its relations with representation of sentiment in film texts. Chapter 2 reviewed the keynote of the regime’s film policies and the resulting domain of Korean film. Chapter 3 examined the three film trends that dominated the Korean film community throughout the Yushin regime with the patterns of “cheerful and sound sentiments” recommended by the regime being presented and those of depression and despair opposite to them being distorted and concealed. The first section looked into the national policy movies produced by the Korean Film Council; The second section the movies made by young directors representing the “era of moving images”; and The third section “the movies about young girls moving to Seoul and undergoing an ordeal” that were also called “hostess melodrama.”
Those examinations led to the following conclusions: the Park Chung-Hee regime supervised and controlled movies through film censorship on the one hand and put an emphasis on cheerful and sound sentiments through national policy movies on the other hand, forcing people to anticommunism and compliance to hierarchy. As a result, any possibilities of opening a door to new imagination were cut off with only out-of-date film making conventions and commercial sexuality surviving. The movies produced in the process revealed sorrow disguised as laughter and compassion for self-defense, which seemed to be opposite to “cheerful and sound sentiments” promoted by the regime on the surface but were actually in the same line as them in that they had a structure containing contradiction and disruption. Film censorship forced the national policy emotions onto personal emotions, thus making individuals assume the former as a clear base and internalize them even if they wanted and tried to avoid and despite them. Thus they became the contradictions deeply rooted in the spirit of the times and historical trauma. Even today the Korean society is overwhelmed by the ghost of the Park Chung-Hee regime sometimes because the contradictory structure from the regime has not been resolved inside the society and still has influence on it.
Those examinations led to the following conclusions: the Park Chung-Hee regime supervised and controlled movies through film censorship on the one hand and put an emphasis on cheerful and sound sentiments through national policy movies on the other hand, forcing people to anticommunism and compliance to hierarchy. As a result, any possibilities of opening a door to new imagination were cut off with only out-of-date film making conventions and commercial sexuality surviving. The movies produced in the process revealed sorrow disguised as laughter and compassion for self-defense, which seemed to be opposite to “cheerful and sound sentiments” promoted by the regime on the surface but were actually in the same line as them in that they had a structure containing contradiction and disruption. Film censorship forced the national policy emotions onto personal emotions, thus making individuals assume the former as a clear base and internalize them even if they wanted and tried to avoid and despite them. Thus they became the contradictions deeply rooted in the spirit of the times and historical trauma. Even today the Korean society is overwhelmed by the ghost of the Park Chung-Hee regime sometimes because the contradictory structure from the regime has not been resolved inside the society and still has influence on it.
목차
1. 들어가며: 영화 검열과 이만희의 죽음
2. 박정희 정권기 영화 통제와 1970년대 한국 영화의 판도
3. 유신체제기 영화 검열과 감성 재현
4. 나가며: 검열시대 감성의 구조와 향배
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Abstract
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UCI(KEPA) : I410-ECN-0101-2013-905-002849755