‘藝倫’의 역사적 추이와 제도적 임계

Abstract

This study investigated the changes in the censorship system through the institutional criticality of the ‘Ye-ryun’, which was established as an self-censorship organization, following the process of dynamically changing according to the changes in the dynamics of state power and culture subject. The founding of ‘Ye-ryun’ is coextensive with the expectation of the cultural power to secure the autonomy area to the social control power of the state power through ‘self-censorship’, but in fact, there was a Public Affairs Department at behind the scene, who operated ‘Ye-chong’ to institutionalize such expectations. In the first three years, this self-censorship organization were exposed to organizational defects, inexperience, and limitations of their capabilities. However, the public authorities began to change the usage of ‘Ye-ryun’ soon thereafter passing 1969. This period was noisy to the constitutional amendment issue for election for the third term. As the proportion of popular culture is gradually increasing, the internal and external situation that threatens the Park Chung Hee system demanded the quick maintenance of the censorship system. The organizational reorganization and enlargement of ‘Ye-ryun’ were taken by such necessity, and this was the result of the economic principle of the cultural control of the Park government, which was the key to the media’s power to spread. It was the duty of ‘Ye-ryun’ to enhance the efficiency of cultural control for to get tenurial seizure of power of Park Chung Hee. The pressure index on the censorship-object has continued to increase. This historical trend is obviously a process that has been dominated by the state, and the paradox is that as the obsessive censorship of the state power is strengthened, there has been constructed a new censorship-object who has non/anti-identification to censorship standard. The definitive proof of the indications was that in the field of the drama it had been a faithful censorship-object since the beginning of ‘Ye-ryun’ and that was just calming, that the reactions of censorship-objects who did not understand the censorship results began to be revealed. In this sense, the decade of ‘Ye-ryun’ was an unintended but inevitable process of visualizing the censorship front. Did the government detect this? Even if it was not so, the ‘Ye-ryun’ had to end there. This is because only the state should have the right of censorship on emergency when the ninth Emergency Measure was triggered. In this way, it was nothing but the Park Chung Hee government that visualized the censorship front.