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일제의 영화통제정책과 만주영화협회 :순회영사를 중심으로

The Film Control Policy of the Japanese Imperialists in Manchuria and the Manchurian Film Cooperative: Focusing on the Moving Projection

이준식
국학연구원 (Institute of Korean Studies)|2008.09|동방학지 (THE DONG BANG HAK CHI)|제143호|pp. 253-299

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참고문헌

키워드

Manchuria만주만주영화협회Japanese imperialism순회영사Manchurian Film Cooperative일본제국주의영화통제체제아마카스(甘粕正彦)film control systemmoving projeciomMasahiko Amakasu(甘粕正彦)
주제분류기타인문학

초록

The purpose of this paper is to review the implication of the firm control policy of the Japanese Imperialists in Manchuria. Especially, this paper deals with the state-led Manchurian Film Cooperative's Moving Projection, as its focus of the discussion. Japanese Imperialism had took great attention of the influence of the films against mass seriously. Especially, as it expended its imperial war against other states, it had acknowledged that film was the onr of the most important weapon in ideological warfare. Japanese Imperial government had utilized the films to propagandize its ruling ideology Manchurian People. Through the enactment of Film Law and Manchurian Film Cooperative Law of 1937, Japanese Imperial government ultimately intended to indoctrinate imperialist ideology such as Minzokhyeobhwa(民族協和 : ethnic harmony) and Wangdonakto(王道樂土 : earthly paradise with righteous government) to the Manchurian people and inculcate the concept of modern state in their minds. By the establishment of the Manchurian Film Cooperative, Japanese Imperialism controlled the entire process of film market from production and distribution to promotion. Manchurian Film Cooperative was the central organization which enforced the Japanese's film control policy. With the establishment of the Manchurian Film Cooperative, the characteristic of the film control system changed from one of the passive control, where contentious movies regulated, to active control, where mobilizing people to propaganda movies were promoted. Japanese Imperialism's intention, with the firm, to enforce Manchurian People to be a new citizen of Manchukuk and to enforce them to cooperate their policy was emerged well in moving projection. At that time Manchukuk was not well developed as in the stage of a modern society as the film was not well introduced throughout its territory. To use films as a political measures of propaganda, a lot of cinemas and people who could see the film were prerequisite. Because these prerequisite factors were not meet at the Manchukuk, Japanese imperial government would take an attention to the moving projection which could show the movie with the film and projection. After Masahiko Amakasu inaugurated as a second chairman of the Manchurian Film Cooperative, it is the moving projection that was the most important activity of this Cooperative. By the Moving Projection, the ideology of Minzokhyeobhwa and Wnagdonakto were dispersed throughout the Manchukuk. However, the real life of Manchurian people were far away from these ideologies because ideologies were made by japanese people only for the prosperity of the japanese people. Japanese people and Machurian people would have lived away from each other in another world. This is the fundamental limitation of the Moving Projection Policy which was implemented by the Manchurian Film Cooperative.

Abstract

The purpose of this paper is to review the implication of the firm control policy of the Japanese Imperialists in Manchuria. Especially, this paper deals with the state-led Manchurian Film Cooperative's Moving Projection, as its focus of the discussion. Japanese Imperialism had took great attention of the influence of the films against mass seriously. Especially, as it expended its imperial war against other states, it had acknowledged that film was the onr of the most important weapon in ideological warfare. Japanese Imperial government had utilized the films to propagandize its ruling ideology Manchurian People. Through the enactment of Film Law and Manchurian Film Cooperative Law of 1937, Japanese Imperial government ultimately intended to indoctrinate imperialist ideology such as Minzokhyeobhwa(民族協和 : ethnic harmony) and Wangdonakto(王道樂土 : earthly paradise with righteous government) to the Manchurian people and inculcate the concept of modern state in their minds. By the establishment of the Manchurian Film Cooperative, Japanese Imperialism controlled the entire process of film market from production and distribution to promotion. Manchurian Film Cooperative was the central organization which enforced the Japanese's film control policy. With the establishment of the Manchurian Film Cooperative, the characteristic of the film control system changed from one of the passive control, where contentious movies regulated, to active control, where mobilizing people to propaganda movies were promoted. Japanese Imperialism's intention, with the firm, to enforce Manchurian People to be a new citizen of Manchukuk and to enforce them to cooperate their policy was emerged well in moving projection. At that time Manchukuk was not well developed as in the stage of a modern society as the film was not well introduced throughout its territory. To use films as a political measures of propaganda, a lot of cinemas and people who could see the film were prerequisite. Because these prerequisite factors were not meet at the Manchukuk, Japanese imperial government would take an attention to the moving projection which could show the movie with the film and projection. After Masahiko Amakasu inaugurated as a second chairman of the Manchurian Film Cooperative, it is the moving projection that was the most important activity of this Cooperative. By the Moving Projection, the ideology of Minzokhyeobhwa and Wnagdonakto were dispersed throughout the Manchukuk. However, the real life of Manchurian people were far away from these ideologies because ideologies were made by japanese people only for the prosperity of the japanese people. Japanese people and Machurian people would have lived away from each other in another world. This is the fundamental limitation of the Moving Projection Policy which was implemented by the Manchurian Film Cooperative.

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