긴급조치 시기 ‘공륜’의 제도

Abstract

The purpose of this study was to examine the institutional reality of ‘Gong-ryun’(Performance Ethics Committee) created during the time of emergency measures and to assess its power and criticality based on this. By dismantling the ‘Ye-ryun’(Korea Arts & Culture Ethics Committee) which was an autonomous deliberation institution and re-establishing ‘Gong-ryun’, the Park Chung-hee administration makes this deliberation institution a necessary government product in the time of emergency measures. The government allocates the performing arts deliberation to the private sector, but strengthens control by enacting it as a law, thereby reducing the political and economic costs of censorship. This is the need for ‘Gong-ryun’ to become a legal-private organization, and the goal is to incorporate ‘Gong-ryun’ into a sub-structure of the Park Chung-hee government’s censorship system and use it as a tool for domination to maintain the Yushin Regim. Therefore, it is supervised and controlled by the Ministry of Culture and Public Information, which is the competent authority, in all aspects, including the organization composition based on the Public Performance Act and administrative legislation. In addition, the director of the Arts Bureau of the Ministry of Culture and Public Information participates as an ex officio in the committee table, and the relevant deliberation committee members informally/officially participate in the professional deliberation committee. They are another censorship agency that exists in the ‘Gong-ryun’ and are outsiders who force the self-examination of private ethics committee members and deliberation committee members. As such, the nature of the control private organization is clear, but this is not all. There is sincerity and kindness in ‘Gong-ryun’ as a system to promote and persuade the legitimacy of art control or censorship. This is in line with the nature of an authoritarian system in which a justification strategy for the acquisition and maintenance of power is important along with violent and oppressive governance. The justification and legitimacy of censorship are promoted and persuaded through a ‘friendly’ media, Ethics for Performing, but thanks to that, the public sphere of censorship is opened to a limited extent and the area of non-reaction of censors is created. In other words, unintended distortion occurs in the design of the censorship authorities, which is a dilemma as a system of ‘Gong-ryun’. When paying attention to this dilemma, it will be possible to objectify its productivity without being trapped in the closure of the system.