해방기 한국영화 속 서울의 공간 재현 양상 연구 –현존 극영화를 중심으로–

Abstract

In this study, by way of background setting of narrative and visual representation, I researched various aspects of Seoul in Korean feature films from the National Liberation before the Korean War. As a result, I came to a conclusion as follows. First, feature films depicting historical figures who struggled for national independence became popular in the Period of the National Liberation. For example, <Hurrah! For Freedom (자유만세)>(1946) and <Yoo Kwan-Sun(유관순)>(1948) symbolized Seoul(Gyoungsung) as a place of national independence and liberation. Also, as for the way of representation, through using differentiation and contrast, Seoul was showed as a place where contemporary ideal and popular fantasy coexisted. Therefore, this aspect of Seoul exposed not only historical factuality but also fabrication about anti-Japanese and independence. Second, some films reflected contemporary social issues in this period. <The Night Before Independence Day(독립전야)>(1984) objectified figures who devoted themselves to building a new world or welcoming a new age positively, and <Sea Gull(해연)>(1948) embodied figures who dedicated to children, leading role in the future. In these films, Seoul was ambivalent place because negative/positive and critical/hopeful aspects of Seoul were coexisted, contrasted, or inverted. Third, Seoul was often set as background in conventional melodrama which was one of the most popular genres in that period. Especially, Seoul was symbolized as a centric place in <A Public Prosecutor and A Female Teacher(검사와 여선생)>(1948) and <A Journey of Youth(촌색시)>(1949). Representation of Seoul in these films, supported modern values in modern cities, but accepted patriarchal order at the same time.