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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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초록· 키워드
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This paper aims to examine the origin of cultural film and the formation of its concept in the face of the enforcement of film policy in imperial Japan and colonial Korea. As this paper focuses on, the terminology of cultural film was not only the outcome from an ambivalent project which imperial Japan tried in both imperial Japan and colonial Korea before 1945, but also the fruit of the colonial modernity which colonial Korea received as re-translated from Western Germany via Japan. This equivocal term of cultural film and its difficulty to define had been a problematic post-colonial issue which continued from the colonial period to post-war and even to the first enactment of the Film Law in January, 1962 in South Korea.
The cultural film originates from ‘Kulturfilm’ produced by Western German UFA (Universum Film AG) including Wege zu Kraft und Schonheit (Golden Road to Health and Beauty) (1925), which imperial Japan imported and translated. It was the import and release of a UFA Kulturfilm by Towa Corporation around 1936 that had a great influence on Japanese society. And the terminology of cultural film which imperial Japan translated to started to be used in colonial Korea as itself. This term became influential to the extent that it was to be legislated in the Film Law in Japan in October, 1939 and in the Chosun Film Regulation in August, 1940. The cultural film was confirmed by ‘approval’ of Minister of Culture and Education in imperial Japan and Governor-General of colonial Korea in colonial Korea. Moreover, its way of practice was exposed as ‘compulsive screening.’ The cultural film received attention as ‘enlightening propaganda film’ which “plays a very important role of instructing our nation in how to accomplish our mission of the Greater East Asia War,” as Mihashi Aiyoshi, a civil servant for social education of the Ministry of Culture mentioned.
The cultural film originates from ‘Kulturfilm’ produced by Western German UFA (Universum Film AG) including Wege zu Kraft und Schonheit (Golden Road to Health and Beauty) (1925), which imperial Japan imported and translated. It was the import and release of a UFA Kulturfilm by Towa Corporation around 1936 that had a great influence on Japanese society. And the terminology of cultural film which imperial Japan translated to started to be used in colonial Korea as itself. This term became influential to the extent that it was to be legislated in the Film Law in Japan in October, 1939 and in the Chosun Film Regulation in August, 1940. The cultural film was confirmed by ‘approval’ of Minister of Culture and Education in imperial Japan and Governor-General of colonial Korea in colonial Korea. Moreover, its way of practice was exposed as ‘compulsive screening.’ The cultural film received attention as ‘enlightening propaganda film’ which “plays a very important role of instructing our nation in how to accomplish our mission of the Greater East Asia War,” as Mihashi Aiyoshi, a civil servant for social education of the Ministry of Culture mentioned.
목차
1. 들어가며
2. 문화영화의 역사적 기원
3. 식민지기 문화영화 법제와 그 담론
4. 나가며
참고문헌
Abstract
참고문헌 (17)
참고문헌 신청
1. [기타자료] - / / 동아일보(東亞日報), 국제영화신문(國際映画新聞), 영화순보(映画旬報), 키네마순보(キネマ旬報) 각 기사
2. [학술지(정기간행물)] - 무라 하루오 / 1942 / 영화배급사직원양성소강연록: 일본문화영화 약사 / 영화순보 (64)
3. [학술지(정기간행물)] - 미하시 아이요시 / 1942 / 영화배급사직원양성소강연록: 문화영화의 인정 / 영화순보 (62)
4. [학술지(정기간행물)] - 이세키 다네오 / 1943 / 영화배급사직원양성소강연록: 영화흥행개론(1) / 영화순보 (69)
5. [단행본] - 한국영상자료원 / 2009 / 식민지 시대의 영화 검열 1910∼1934 / 한국영상자료원
2. [학술지(정기간행물)] - 무라 하루오 / 1942 / 영화배급사직원양성소강연록: 일본문화영화 약사 / 영화순보 (64)
3. [학술지(정기간행물)] - 미하시 아이요시 / 1942 / 영화배급사직원양성소강연록: 문화영화의 인정 / 영화순보 (62)
4. [학술지(정기간행물)] - 이세키 다네오 / 1943 / 영화배급사직원양성소강연록: 영화흥행개론(1) / 영화순보 (69)
5. [단행본] - 한국영상자료원 / 2009 / 식민지 시대의 영화 검열 1910∼1934 / 한국영상자료원
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UCI(KEPA) : I410-ECN-0101-2015-688-002799112