Planned Architectures of Cinematic Realism －Notes on Nonfiction Foreign Film in Colonial Korea－
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The focus of this paper is the nonfiction foreign films that were screened in colonial Korea. It has two broad aims. The first is to trace the presence of nonfiction films in colonial Korea. The archival record reveals that, rather than a random sampling of global nonfiction films, colonial Korean audiences were presented with a dynamic and scrupulously curated selection of nonfiction films, owing as much to the ideological bearings and governing structures of the colonial government as to the complex networks of commercial distribution and exhibition forged within Japan and Korea. The second aim is to reconstruct what role foreign nonfiction films played in the ways that the medium was conceptualized, seen and exploited. Rather than bearing direct relevance to the debates around realism or verisimilitude (which were of course robust, especially in the early years following the introduction of film technology), nonfiction film occupied a more important place in ongoing debates about the status of film as an art form, its relation to both institutional and ideological politics, and, most broadly, the place of Korea in a world of contested empires.
Abstract
The focus of this paper is the nonfiction foreign films that were screened in colonial Korea. It has two broad aims. The first is to trace the presence of nonfiction films in colonial Korea. The archival record reveals that, rather than a random sampling of global nonfiction films, colonial Korean audiences were presented with a dynamic and scrupulously curated selection of nonfiction films, owing as much to the ideological bearings and governing structures of the colonial government as to the complex networks of commercial distribution and exhibition forged within Japan and Korea. The second aim is to reconstruct what role foreign nonfiction films played in the ways that the medium was conceptualized, seen and exploited. Rather than bearing direct relevance to the debates around realism or verisimilitude (which were of course robust, especially in the early years following the introduction of film technology), nonfiction film occupied a more important place in ongoing debates about the status of film as an art form, its relation to both institutional and ideological politics, and, most broadly, the place of Korea in a world of contested empires.
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