1930년대 경성의 시청각 환경과 극장문화

Abstract

This paper examines the aspects of the audiovisual culture and theatrical culture in the colonial capital, Kyeong-Sung(京城), in the 1930s. An ecstasy in the southern village(南村) of Kyeong-Sung(京城), which was a modern city, was the one that modern boys and modern girls long for in that period. Since the mid-1930s, the northern village(北村) of Kyeong-Sung(京城) has splendid external appearances, thanks to the Japanese advance into the northern village. However, the magnificence of the northern village could not be compared with the one of the southern village. The inhabitants of Kyeong-Sung could hear various music in a cafe or a dance hall, and appreciate a fascinating body of a waitress or modern girl. This paper focuses on the aural and visual stimuli among all senses that attract human being. The voices and landscape of the city allured the inhabitants of Kyeong-Sung into buying the goods in the department store or shopping mall. The sound of disc of gramophone or radio promoted the desire of the inhabitants of Kyeong-Sung for consumption, and the ads of newspapers or magazines, and the neon signs or signboards on the buildings charmed the eyes of the inhabitants of Kyeong-Sung walking round the street. The audiences coming to the theatres visited to enjoy the bodies of actresses or female audiences rather than to enjoy the dramas or movies. The culture of the dramas was closely connected with the modernity and coloniality of the city in that period. The audience became the subject of the modernity by appreciating the modern dramas. Encountering of the audience and theatre as modern buildings, and encountering of the audience and culture of the dramas induced the audience to pursuit the modernity. On the other hand, the culture of the dramas that the audience experience could not be free from the shadow of the colonial policy since the Japan's imperialism allowed only the themes of the dramas that did not contravene the colonial policy. The audience of the dramas was the Flaneurs who appreciate the modernity of the city as well as the subjects made by Japanese imperialism.