1920~30년대 상하이지역 한･중영화예술인들의 예술창작과 그 제국주의식민지저항담론 연구

Abstract

This paper examines the interaction between Korean and Chinese film artists who have been active in Shanghai, international city, from the mid and late 1920s to the late 1930s, and the co󰠏created films. The purpose of this study was to clarify the influence on the formation of East Asian colonial discourse or anti󰠏Japanese discourse and its historical and cultural significance and value. First of all, the exchange and cooperation between Korean and Chinese film artists from the mid󰠏1920s to the 1940s that this paper draws attention are based on the special political situation of Japanese imperialist colonial aggression and oppression, and mutual trust, understanding, and support for one another. Therefore, on the basis of such exchange and cooperation, ideological sense of solidarity of film artists of both countries was established, and such solidarity eventually became the driving force for producing resistance and anti󰠏war films. Next, most of the films that show resistance or anti󰠏Japanese jointly created by Korean and Chinese filmmakers are set in the background of significant historical events. For example, behind the representative work Patriotic Ghost, there is one major historical event called Ahn Jung󰠏geun's killing of Ito Hirobum. And the dramatic plot of Gae󰠏ro conceals a significant historical event called the First Shanghai Incident that occurred on January 28, 1932. The films created on the background of such a significant historical event contributed to the formation of political and cultural discourses such as colonial resistance or war between Korea and China. In this context, the literary exchange and cooperation between Korean and Chinese filmmakers in the 20s and 30s, and the anti󰠏Japanese or resistance film works that they co󰠏created, have their own significant historical values and practical significance.