영화 '사랑과 맹서(愛と誓ひ)'와 오영진의 취재기 「젊은 용의 고향(若い龍の鄕)」비교 연구

Abstract

This thesis, comparing similarities between <Love and Oath(愛と誓ひ)>(1945, directed by Choi In-gyue) and <The home of a young dragon(若い龍の鄕)>(Nov. 1944, from ‘National literacy’), presumes. This study intends to see the changing process of the films based on <Under the Jet(ジ工ト機の下に)>, a disappeared scenario by O Yeong-jin, how its identity had been formulated and changed in the permitted boundaries of Japanese Imperialism through anonymous directors and obscure directors. I examined O Yeong-jin’s film theory from 『National Literary』, published in 1942, and then film symposium based on <Under the Jet(ジ工ト機の下に)>, a propaganda scenario by O Yeong-jin. So I could read O Yeong-jin’s report which had been written by the Navy Department’s order and his change in film. O Yeong-jin asserted that the films what can answer to the question ‘how can volunteers be born?’ were needed and the process to cover the Korean families whose son or sons volunteered in real should be involved. Also he emphasized the films’ role as a ‘national cultural assets’. <The home of young dragon(若い龍の鄕)>, a report by O Yeong-jin, was a documentary in report style. In which, ‘I’, scenario writer, was asked to report for the films of Korean volunteers by the Navy Department. Also <Love and Oath(愛と誓ひ)> was the film that was developed by Eiryue’s report about Murai second lieutenant’s home who had died as a ‘Kamikaze’. In this film, Eiryue, moved by Murai second lieutenant’s wife, finally volunteered to the Navy Department and became a ‘Kamikaze’. These two works have various common things except that the Navy Department had important role in their creating process. In <The home of young dragon(若い龍の鄕)>, a report by O Yeong-jin, big streets with cherry trees are stressed symbolically. As like it, in <Love and Oath(愛と誓ひ)>, cherry trees were stressed as an inserted scene, and were stressed as an long-take scene in the last scene that Eiryue enlisted in the army walking in the street with cherry trees. The characters who had same nature in these two films were ‘the father of Murai second lieutenant’ and ‘recruits chief’. They sent their sons to the suicide squad and stressed spiritual education to send their students to war fields. And both had a profound knowledge of calligraphy, exchange letters each other, were transcendental characters, and were portrayed as the fathers of militant nation. In <Love and Oath(愛と誓ひ)>, some scenes of <Baebangyi Exorcism> and <Meng jinsa’s happy event> were repeated, commonly the heroine or hero left to the ideal world winning neighbors’ sending. Just the difference of <Love and Oath(愛と誓ひ)> with other works, Song-goon, a soldier at the front, was not a hero. The scene that heros left one’s hometown winning neighbors’ sending was seen with its fixed pattern in his works. The locality of Korea which were seen in <Baebangyi Exorcism> and <Mengjinsa’s happy event> was sank into <Love and Oath(愛と誓ひ)>as a commonness of imperialism. In the sight of imperialism, Korean speciality had should been removed and getting rid of Korean speciality was a needed process to be the new people for Japanese Imperialism. In <Love and Oath(愛と誓ひ)>, the Korean song functioned as a part of farewell party for Song-goon, but also it functioned as a motive of the colonists’ disruption like Eiryue’s pulling out petrol in the bus that Song-goon will take.