<반도의 봄>과 <시집가는 날>의 의사-로칼리티(Pseudo-locality) 表象

Abstract

As is well known 이병일’s film <시집가는 날(The Wedding Day)> is an adaptation of 오영진’s original scenario written in Japanese 「孟進士邸の慶事(The Festivity of Maeng Family)」 published in the 『國民文學(National Literature)』 during colonial Korea’s 1943. And The Festivity of Maeng Family is written as a colonial accommodation to imperial Japan’s new geopolitical order between Japan and their colonies. Focusing this fact, recently a few studies have argued that The Wedding Day does have contradictory characters in its anti colonialism being derived from colonialism. Even though this might be right, Those arguements seems to be problematic because there could not be found 이병일’s willing and inherent motivation as a director. So this essay will establish what is distinctively characteristic of 이병일, who as a director, overwrote and rewrote <반도의 봄(The Spring of Korean Peninsula)>(1941), which was directed before the liberation that transitioned to The Wedding Day after the liberation. This is adjacent to the propositions of the ‘political unconscious’. If political unconscious is revealed during a process to resolve social contradiction symbolically and imaginatively because the inherent social contradiction continues and cannot be determined;notwithstanding the contradiction have been solved autwardly after liberation, 이병일’s productions still appear to depend on the symbolic and the imagination, which is in fact another cinematic contradiction. This essay will answer to the following question via such demonstration. As much as the language that instructed our film changed from “조선영화(Chosun Film)” to “한국영화(Korean Film)”, did films after the liberation appropriate the strict meaning of liberation to a complete break, ‘severance’? We can only give a skeptical response. This essay investigates the possibility of the absence of the signified/ or its contradictory symbol that Korean film language devised in order to apply and interpret the same phenomenon differently.