‘한국적인 영화’ 담론과 전통 연행예술의 접합에 대한 소고(小考)

Abstract

This paper examines to combine traditional performance art with discourse on a Korean film having ‘Koreanness’. For the long time of Korean film history, there have been several attempts to include the context of Chosun/Korea into a film, which had been imported from the West. These seemed to be a strategy to export a Korean film to a foreign country, an attempt to make them win awards at a international film event, and a challenge to draw them overseas attention. These attempts essentially include concerning about how our own performance art could be connected with Western performance art, that is a film. Eventually, discourse about a Korean film shows that there are exertions to make a film change from the West into ‘Korean.’ In a sense, Chosun film makers made ‘the local color’ discourse in the 1930s of Japanese colonial era, as a strategy in order to export Chosun film overseas. However, it is somewhat passive way, exploiting local images of Chosun into films to export them to Japan. Yengsang-sidae in the 1970s aims to express both Korean and cosmic material in their films, and then to win awards at an international film festival. They actually made a film with which combines talchoom(Korean traditional mask dance) and Shamanism, based on metempsychosis or Samsara(the eternal cycle of birth, death, and rebirth), but turned out to be fail because of their quite esoteric experiment. Im Kwon-taek since 1990’s has combined pansori with his films, directing ‘pansori trilogy.’ Although these films were both hit at the box office and were introduced through international film festivals, it has mixed evaluation by a film how well the principal of pansori were embodied in his film.