1950년대 대중적 극예술에서의 신파성의 재생산과 해체

Abstract

This paper is to evaluate the quality of modern citizenship in the 1950s, by analyzing how the nature of Shin-pa was reproduced and disintegrated in popular drama genres such as musical drama, broadcasted drama and film of that period. The nature of Shin-pa can be assumed as a retrograde act of rebellion by an individual with no modern identity to move ahead when he was confronted by a cruel modern world which already lost divinity. Therefore, the nature of Shin-pa is destined to be weakened and disintegrated with the growth of modern identity which can harmonize one's ethics/desires with conflict in real world and can change both the self and the world. The musical drama of the period were reproduced as more popularized form, maintaining the nature of Shin-pa which was formed during the colonized time. Unlike tragic love story at the red-light district which had been popular during the Japanese Occupation, Shin-pa of Motherhood and of orphaned brother and sister enjoyed a great popularity in the 1950s, so it can be said fans of the Shin-pa spread to those with less cultural capital. Meanwhile, broadcasted drama which could be enjoyed by city dwellers with expensive radio receiver were the least vulnerable to the Shin-pa nature. However, the weakened Shin-pa nature suggested the strengthened civil discipline introduced by public media as it appeared combined with nationalizing ideology of dedication to public entities such as the society and the state. The film showed much more complex and diverse aspects. The characterization of aprés-girl(the women after the Korean War) of which the film was the most successful showed new women who acknowledged desires over the material and the body and acted on them, and they overcame the nature of Shin-pa from the beginning. However, due to lack of self-reflection, the quality of modern subject seemed superficial like a fashion. Such insecurity resulted in delay in the development of the new character in 1958 and 59 when the film rapidly became popular. The audience of musical drama went to the film, in turn, the nature of Shin-pa in musical drama spread to the film, meanwhile, the conservative broadcasted drama which led the sophistication of less privileged into modern citizens tamed insecure but dynamic possibilities of aprés-girls retroactively. The aprés-girl who dared to do gorgeous appearances and provocative actions turned into prostitutes in American bases stationed in Korea and became a subject of criticism. However, in average, the weakening of the nature of Shin-pa became a trend and brought up the new era of popular dramatic arts of the 1960s.