‘나운규 영화’의 관객들 혹은 무성 영화 관객에 대한 한 연구 - 식민지 시기, 관객의 변화와 나운규 영화의 의미

Abstract

The ‘Na Yun-Kyoo(羅雲奎)’s films’, directed by Na Yun-Kyoo or starring him, represent the silent films of Chosun. In the early 1920s, <Arirang(아리랑)>(1926), directed by him, was the surprising film because it straightforwardly revealed the poverty of contemporary agricultural villages. The lower classes became the important spectators of ‘Na Yun- Kyoo’s films’. Therefore, the chief spectator of the film moved from the middle classes to the lower classes. From this point of view, ‘Na Yun-Kyoo films’ reflect the emotion of the people of the lower classes. His films feature the taste and sensibility of the lower class-fantasy, heroes who rescue the women from the sexual assault and the hatred against the rich. The fantasy, heroism and the hatred against the rich are harmoniously integrated by the anti-modernity or anti-capitalism. However, the sound films, from the early 1930s, made him suffer from the bitters of life but it also provided a chance to improve himself. The first-run theaters in seoul targeted the high level spectators like an intellectual, students or people of the middle and high classes. The sensibility of the lower class, the foundation of his films, became to be neglected in the name of the improving the quality or artistry. Therefore, his films produced in 1930s got the stick of the critics and Na Yun-Kyoo could not but change his acting and directing style. In <A ferry boat that has no owner (임자 없는 나룻배)>, he acted the part of the old boatman in the static style. In his last film, <Oh Mong-neo (오몽녀)>, he was regarded as the smart cineaste. However, despite of his change and the critics’ appraisement, his films made in 1930s seem to lack the dynamics seen in his silent films.