유치진의 시나리오 작업을 통해 보는 반공과 냉전 -「철조망」(1953)을 중심으로

Abstract

The purpose of this study is to summarize Yu Chi-jin’s scenario work in the 1950s focusing on the scenario titled Entanglements(1953), and to discuss the author’s film activity in the middle of the cold-war culture formation. What Yu Chi-jin started a full-out scenario work is after the Korean War. Even his activity related to a movie is limited mainly to the 1950s. Especially, this period is both the one that he had been intent on creating a scenario rather than a play as an author, and the time when he had more positively launched into the politicization of art in relation to introducing western culture amidst the directivity and the cold-war structure in the Syngman Rhee regime. The scenario Entanglements is a work that is at the starting point of Yu Chi-jin’s scenario work before and after the war, and is a text that suggests directivity in Yu Chi-jin’s entertainment activity directly linked to politics. Also, in a regard of the text that was unveiled right after Syngman Rhee's unilateral determination of prisoner release, which was not consulted with UN, it may be noted in the respect of having contemporary characteristic relevant to the corresponding matter. This study aims to point out that the scenario, which was reported in Dongrang-Yuchijin-Jeonjip(東朗柳致鎭全集), is an adaptor’s text, not the one of Yu Chi-jin, and to discuss how political it was a writer’s background, which had ‘de-politicized’ own theatrical activity in the autobiography through his scenario. The ultimate objective is to explain about the position that Entanglements has in Yu Chi-jin’s playwriting world with paying particular attention to the aspect dubbed doctrinairism and propaganda, and to discuss about Yu Chi-jin’s position between war and revolution through the complicated censorship process of Entanglements as the movie before and after the April 19 Revolution.