전북영화감독론 : 이강천 – ＜피아골＞ 영화를 중심으로 –

Abstract

At the center of Korean filmmaking in the 1950s and 1960s was Jeollabuk-do, especially Jeonju, which saw the production of the films like Arirang and Piagol(directed by Lee Kang Cheon), including the Korea’s first 16mm color film Princess Seonhwa by Choi Sung kwan. A considerate part of Korean films then was filmed in the region by the local directors. In the wake of the nation’s cultural and artistic administration being centralized, the region came to a marginalized area of cinema culture. Undeniable is, however, that the film production and the market in Jeollabuk-do proved to be the driving force in Korean filmmaking industry in the given era. The one who deserves more recognition in this sense is Lee Kang Cheon. For neither his hometown nor the field of action wasn’t in the region, his name has long been undervalued, compared to Kim Ki Young, Yu Hyun Mok or Shin Sang Ok, in spite of his legacy left on the history of Korean filmmaking. Having said that, his role and work in the Korean film history deserve more and better attention for sure. As a follow-up of my long years of research on the Jeollabuk-do film history, this study follows his footsteps through all his works in an attempt to reconstruct, as well as re-evaluate the regional film scene. Worth noting is his second work, Piagol, which left a very important value in socio-historic sense. Therefore, the study focuses a great deal on the production background, the shooting scenes, and the importance of the work in depth, in hopes of tracing the origins of the realism of Korean film which, in turn, would help revalue the history of Jeollabuk-do film industry.