THE THREE FACES OF PEOPLE’S CINEMA: A CRITICAL REVIEW OF THE SOUTH KOREAN INDEPENDENT CINEMA MOVEMENT IN THE 1980S
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
This study examines the origin and development of people’s cinema (minjung yŏnghwa) as the determining feature of the South Korean independent cinema movement in the 1980s. Defying the simplistic description of people’s cinema as political propaganda which arose in the mid 1980s, this study illuminates the multiple aspects of the idea that originated from the intricate dialogues between youth culture, minjung discourse and theories of resistant filmmaking. The 1980s youth culture rooted in universities is examined first to see how the youth culture functioned as both the producer and consumer of resistant cultural practices including people’s cinema. Based on this discussion, this study tackles the three main aspects of people’s cinema. First, it shows that people’s cinema emerged as an alternative film aesthetic to conventional narrative cinema, a variation of which was film documentary. Second, along with analysis of the film texts, it also shows how people’s cinema ideologically flanked cinema as an instrument of political activism. Lastly, it discusses the way in which people’s cinema developed into a national cinema thesis (minjok yŏnghwaron) in combination with North Korean film theory.
Abstract
This study examines the origin and development of people’s cinema (minjung yŏnghwa) as the determining feature of the South Korean independent cinema movement in the 1980s. Defying the simplistic description of people’s cinema as political propaganda which arose in the mid 1980s, this study illuminates the multiple aspects of the idea that originated from the intricate dialogues between youth culture, minjung discourse and theories of resistant filmmaking. The 1980s youth culture rooted in universities is examined first to see how the youth culture functioned as both the producer and consumer of resistant cultural practices including people’s cinema. Based on this discussion, this study tackles the three main aspects of people’s cinema. First, it shows that people’s cinema emerged as an alternative film aesthetic to conventional narrative cinema, a variation of which was film documentary. Second, along with analysis of the film texts, it also shows how people’s cinema ideologically flanked cinema as an instrument of political activism. Lastly, it discusses the way in which people’s cinema developed into a national cinema thesis (minjok yŏnghwaron) in combination with North Korean film theory.
참고문헌 (21)
- Bakhtin, Mikhail. M., "The Dialogic Imagination" (1981), Texas UP
- Cho Chunhyŏng, (2005), Ich’ae
- Hong Man, , pp.209~234 (1985), Hwada
- Im Ugi, , pp.185~190 (1990), Chungang Daily Press
- Jang Sun-Woo, , pp.147~157 (1985), Spring
- Jorge Sanjinés, "Theory & Practice of a Cinema with the People" (1989), Curbstone Press
- Kang Chunman, "Promenade of Modern Korean History: 1980s I in: Han’guk hyŏndaesa sanch’aek: 1980-nyŏndae I" (2003), Inmul kwa sasangsa
- Kang Chunman, "Promenadme through Modern Korean History: 1980s III in: Han’guk hyŏndaesa sanch’a 1980s III" (2003), Inmul kwa sasangsa
- Kim Chiha, , pp.17~32 (1984), Munhak kwa chisŏngsa
- Kim Toyŏn, , pp.99~130 (1984), Munhak kwa chisŏngsa
- Kim Wŏn, (1999), Ihu
- Kim Jong-Il, "On the Art of Cinema" (2001), University Press of the Pacific
- Korean Film Institute, "The Almanac of Korean Film" (1984)
- Paek Chihan, , pp.140~160 (1989), Chingu
- Pak Sae’gil, "A Rewritten History of Modern Korea 3 [Tasi ssŭnŭn Han’guk hyŏndaesa 3" (1992), Tolbaegae
- Seoul Cinema Collective, (1983), Hangminsa
- Seoul Visual Collective, "From Periphery to Center" (1996), Sigak kwa ŏnŏ
- Willemen, Paul, "The Third Cinema Question in Michael T. Martin in: New Latin American Cinema", pp.221~251 (1997), Wayne State UP
- Yi Chŏngha, , pp.46~81 (1989), Ch’in’gu
- Yi Hyeyŏng, , pp.243~ (1985), Hwada
- Yi Hyo’in, , pp.12~45 (1989), Ch’in’gu