이익을 위한 피검열자의 열망과 검열 : 1960년대 초 국산 ‘왜색’ 영화 허가의 이면

Abstract

Immediately after 4.19, the most important topic of conversation in the Korean film industry was about Japanese films. In anticipation of the change in policy, movie studios scrambled to import Japanese films or to add Japanese Style to domestic films. Naturally, the censors, who didn"t allow Japanese Style to appear in movies, wanted to crack down on this, but the Waesaek controversy persisted. By focusing on the reasons why Japanese Style were included in films that could only be shown with a permission, this article aims to understand the Waesaek censorship by looking at it as a confrontation between the censors who were motivated by profit and the censored who were motivated by cause. When domestic filmmakers realize that there is a high level of public interest in Japanese films, they begin to violate the law by seeking locations in Japan, making propaganda before obtaining permits, and inserting Japanese inserts. However, the censor was aware of this fact, but was unable to reject it. The censor"s violations were not enough to disqualify the movie, and the authorities, who have to take the film industry into consideration, could not do so lightly. We also did not find grounds for rejection for issues related to advertising that censors could not prevent. The censorship of Korean Waesaek films demonstrates that the perception of complete censorship based on a priori regulations is an illusion, and that censorship is always a reactive process.