예술적 동정과 제국적 관용, 그 사이의 비평 - <나그네[旅路]>(1937) 이후의 조선영화와 일본영화계 -

Abstract

Since Wanderer (K:Naguene J:Tabiji) successfully had entered Japan in 1937, Korean films such as Han River, Fishing Fires and Military Train were released in Japan in succession. Notable critics such as Iijima Tadashi, Iwasaki Akira, and Hazumi Tsuneo faced a situation in which they would have to discover the value of colonial Korean film and explain its aesthetic qualities. When they watched Korean films, they reflected on the Japan’s attempts to export the Japanese film to foreign countries and its failures, and were moved by and sympathized with the artistic passion for not giving up on making the Korean film despite the harshly poor condition. However, their interests in Korean cinema were similar to those of the general public in the Japanese film world, which should be led and directed by Japan, which were converging on imperial tolerance. This paper critically examines the discourse on colonial Korean cinema of the Japanese film world, which was involved in adjusting of Japanese cinema’s inner boundaries as part of its imperial planning, by reconstructing the critical dialogues between the metropole Japan and colonial Korea and noting the attitude the Japanese film world took toward colonial Korean cinema during the time from the Japanese release of Wanderer(1937) to the promulgation of the Japanese Film Law(1939).