감각의 전변, 1970년대 중반 청년 음악영화의 전개

Abstract

In the mid-1970s, a new type of movie aimed at young people emerged. These were "youth music films" that utilized young folk musicians favored by university students. They were produced in large numbers, reflecting the morals, musical tastes, and sentiments of the younger generation, using amateur young musicians to insert folk and rock music, and introducing audible spaces such as public broadcasting, live music salons, and ‘Go-Go’ clubs. With the advent of television in the early 1970s, film and radio experienced a crisis as old media. As people in their 30s, 40s, and beyond moved to television sets, radio and film found a new audience: young adults in their teens and 20s in jeans. Radio tried to find a new market with late-night music broadcasts, and theaters tried to find a new market with youth films aimed at young people. During this period, Korean films responded to the government's new film policy and actively reflected the tastes and preferences of new audiences. The initial representation of cheerful university students or 'correctable youth' in youth music films gradually gave way to the representation of non-mainstream youth, such as repeater and losers who were left behind in ironic situations. In youth music films, music contributes significantly to the theme and aesthetics of the film by assisting to narrative connections, giving unity to the narrative, and performing the function of auditory montage, beyond the simple function of setting the mood of the film. The atmosphere of this era experienced a turning point in 1975 with the implementation of Emergency Measure No. 9, the cannabis arrest of pop culture celebrities, and the announcement of banned popular songs.