프로키노 영사회 관람공간의 성격과 <연돌실 페로(煙突室ペロー)>

Abstract

Prokino(1928-1934) could not make films that captured the attention of audiences because of the lack of manpower and money. Inferior screening conditions including outdoor screening, bad equipment, and poor accompaniment added to its negatives. For these reasons, the audience never seemed to pay complete attention while viewing their films. They engaged in simultaneous conversation, arbitrarily analyzed the film, and commented on the various aspects of it while they viewed it. In such a free atmosphere, the viewing space became a space of resistance when the audience was composed of workers, and a cognate space of colonial people when the audience was composed of Koreans in imperial Japan. Because of relaxed viewing conditions and the proletarian camaraderie of audience in the screening, audiences regarded <Entotsusitsu Pero> as an antiwar film. But <Entotsusitsu Pero> was not an antiwar movie but a juvenile movie.