근대 일본의 그림엽서 문화사 담론

Abstract

The modern Japanese picture postcard was a media to address special news, not delivered by newspaper, and “novelty” convened by modernization. E-Hagaki(picture postcard)had been cognitively fixed as a souvenir in the 1920s-30s from an intermediate state adopting the visibility of Nisikie Newspaper in the Edo period and the objectivity of newspaper in the Taisyo period, changing from black-and-white to colored pictures. However, from the early 20th century, a number of magazines for the picture postcard had been published , the picture postcard reception and exhibition had been held, and a new hobby to collect the picture postcard had emerged. A new culture of picture postcard evolved as an another archive in the Taisyo and Showa period as writers and artists actively participated in the phenomenon. It was vigorously exploited the commercial art such as the art nouveau design, the collotype picture printing, the improvement of paper quality, and typography to make the novel and extraordinary topics of daily life newsworthy and contain more address and argument. As a result, it had converged toward the unification of the consumption power of propaganda, tourism, and travel, extensive commercial film and promotion medium, and contemporary cultural resources. Furthermore, it led the differentiated visualization in the empire period. The picture postcard culture started to transformed, extending to the colonial. The beauty picture postcard as a type of the Korean geisha picture postcard and the rural folk song of Japan as a sort of the ‘Arirang’ and ‘lyric poem’ postcard in the Chosen dynasty revealed ‘discrimination’ and ‘difference’ between colony and homeland. Hinode-Shoko, the publisher of picture postcard for Chosen and Taisyo picture printing office, the subcontractor of Imperial Japanese Army, worked as a basis to make the difference between Japan and Chosen the discrimination between homeland and colony. The picture postcard produced as a promotion material for the immigration and tourism of Chosen was not a specific souvenir. It is seen that there was an effort to extend the recognition on the ‘rural’ areas of Chosen, which Japan tried to exclusively possess, to the culture of picture postcard and actualize it as a cultural device.