민족계몽과 예술지상주의 사이 ―­1960년대 문예영화에 나타난 식민지 예술가의 표상

Abstract

This paper investigates literary films of the late 1960s that depict artists who lived during the Japanese colonial period of Korean history (1910–1945), in particular Na Un-gyu [1966], Ch’unwŏn Yi Kwang-su [1968], and The Wings of Yi Sang [1969]. By discussing the revival of these colonial artists and analyzing the manner in which they were represented in the films, the author attempts to reveal the ways the colonial period was remembered in South Korean films, as well as the underlying implications of this commemoration. In particular, the paper reveals the social and political context in which certain colonial-era artists­generally those who died before the late 1930s and so avoided both communism and collaboration with the Japanese­were raised to the status of heroes and considered worth cinematizing. This paper also explores the role of the reoccurring image in South Korean films of the 1960s of the artist as at once misunderstood genius and Korean nationalist. In particular, the paper considers the gender implications of the justified dissipation of the misunderstood genius, for whom women always can play only the subsidiary role of providers of comfort and pleasure. In conclusion, the ideological spectrum of the representation of the artist in these three films may be said to run from national enlightenment to art for art’s sake. In Na Un-gyu these two ideological poles are in placed in contradiction to each other. In Ch’unwŏn Yi Kwang-su, national enlightenment is emphasized exclusively in the representation of the artist. In that film, Yi Kwang-su is treated as not only a brilliant artist, but also as a martyr who sacrifices all for the nation. His art is honoured as national enlightenment art which gives light to the nation. The Wings of Yi Sang is an example of a literary film which describes the artist exclusively from the perspective of art for art’s sake. It is fascinating that, during the same period, both national enlightenment and art for art’s sake were encouraged as approached to art.