오영진의 1940년대 초기 시나리오에 나타난 ‘민속’의 의미 －'배뱅이굿(べべンイの巫祭)'과 '맹진사댁 경사(孟進仕宅の慶事)'을 중심으로

Abstract

The works of Oh Young－jin, <Baebengie Mourning> and <Festivity of the Maeng Family> are different from the propaganda filled movies and scenarios of the 1940s. These works focus on folk ceremonies to portray the locality and the Chosun flavor of the times. In this essay we will explore how the locality through the ceremonies and colonial sentiment of the times have been expressed in the two works. take a look at the underlying purpose, and analyze the differences between the empire and the colony. First we explored the colonial sentiment from the late 1930s to the 1940s, when Oh young－jin produced his works. ‘To be of Chosun’ in the colony of Chosun in the 1930s, merely had value as a product where it was a symbol of Chosun taste or flavor. One of the reasons the Oh Young－jin’s works which dealt with folk ceremonies was allowed was due to the cultural views of the time. The minute details of the wedding ceremony described in <Festivity of the Maeng Family>is related to how the Japanese study of life and death during the crisis period of the end of the Pacific War could be differently expressed as the creation of Japanese tradition. <Baebengie Mourning> could not be free from the influence of the favorable benefits to shamanist culture that was encouraged during the colonial times. The folk traditions of shamanism and the wedding ceremony are the vital components that carry the plot and portray the effects of the dutiful nationalism of the Chosun people. We can points where the internalization and breakup of the ‘chosen tradition’ by third parties occur in Oh Youngjin’s works of <Baebengie Mourning> and <Festivity of the Maeng Family>. The events in the two works take place in the form of festivities, and in <Baebengie Mourning>, a cheerful episode of connecting the spirit of Baebengie is disguised in a playful and self－less manner is memorable. Folk songs and dancing make up a large part of the work, and games like ‘hat finding’ are responsible for creating a festive mood in portraying death that is contrary to the grave atmosphere of a funeral. The formation of groups resulting from ceremonial practices are a reflection of the sentiments of citizen formation that were prevalent in the 1940s. In <Festivity of the Maeng Family> rumors about the physical disability about the groom prove to be false and concludes with the marriage of Mi－on, the healthy son of Minister Kim, and Yipeuni, the kind and dutiful maid. In the 1940s, the healthy body of males represent the opportunity to serve the calling of the nation. The cheerfulness and lack of reality of <Festivity of the Maeng Family>are the main reasons that this work has been able to attract attention after the liberation. Extreme cheerfulness and the bright stereotype of the rural community were representative of ‘that of Chosun’, and the product of colonial intellectual, Oh Young－jin’s mentality of overcoming reality and has become the basis for the ‘Korean model’ since the liberation of Korea.