1930년대 소련영화에 투영된 유토피아적 세계와 테크놀로지 표상 - <부유한 신부>(1937)와 <트랙터 기사들>(1939)을 중심으로
Representation of Technology and Utopian World Projected in the 1930s Soviet Films - Focusing on The Country Bride(1937) and Tractor Drivers(1939)
0
조회
0
다운로드
1
인용
0
참고문헌
키워드
초록
This paper aims at examining how technology was represented in Soviet film of the 1930s within utopian-oriented environment and how these representations were related with that time. Mainly, this paper analyzes two films of Ivan Pyrev, The Country Bride(1937) and Tractor Drivers(1939) which romanticizes about ideals of Soviet society through ‘technology utopian’ elements in the countryside. Both of the films that sets not only musical comedy genre with a love story but also embodies socialist realism, are about a story that labor-production heroes achieves both of ‘work’ and ‘love’ by showing their operation efficiency. Within this story, ability of individual skill is emphasized and efficiency of collective skill is regarded as important task. On the other hand, sharing roles and establishing balanced relationship between technology and human, women and man, individual and group are presented organizationally in two films. These representations reflects (un)intentionally Soviet society with conflicts between individual and individual, group and group, caused by troubled process of agricultural collectivization at that time. Ultimately, these films hyperbolically justifies the Stalin regime's policy and power. However, because real lives of the Soviet people were remarkably different from the utopian imagination, internal contradictions or gap with reality are revealed in two films through various forms both inside and outside of the text.
Abstract
This paper aims at examining how technology was represented in Soviet film of the 1930s within utopian-oriented environment and how these representations were related with that time. Mainly, this paper analyzes two films of Ivan Pyrev, The Country Bride(1937) and Tractor Drivers(1939) which romanticizes about ideals of Soviet society through ‘technology utopian’ elements in the countryside. Both of the films that sets not only musical comedy genre with a love story but also embodies socialist realism, are about a story that labor-production heroes achieves both of ‘work’ and ‘love’ by showing their operation efficiency. Within this story, ability of individual skill is emphasized and efficiency of collective skill is regarded as important task. On the other hand, sharing roles and establishing balanced relationship between technology and human, women and man, individual and group are presented organizationally in two films. These representations reflects (un)intentionally Soviet society with conflicts between individual and individual, group and group, caused by troubled process of agricultural collectivization at that time. Ultimately, these films hyperbolically justifies the Stalin regime's policy and power. However, because real lives of the Soviet people were remarkably different from the utopian imagination, internal contradictions or gap with reality are revealed in two films through various forms both inside and outside of the text.
참고문헌 (31)
- 기계형, "‘동원’과 ‘자기실현’ 사이에서 - 1930년대 스탈린체제 하의 스타하노브카 여성의 현실 -", 서양사론, (132), pp.109~140 (2017), 한국서양사학회
- 김남섭, "1930년대 초 소련의 탈쿨라크화 운동과 쿨라크의 자녀들", 역사학연구, (44), pp.305~337 (2011), 호남사학회
- 김덕호, "유토피아를 위한 망각의 공간 －1930년대 대공황과 미국의 세계 박람회－", 서양사론, (105), pp.133~168 (2010), 한국서양사학회
- 길레스피, 데이비드, "러시아 영화: 문화적 기억과 미학적 전통" (2015), 그린비출판사
- 노웰-스미스, 제프리, "옥스퍼드 세계 영화사" (2005), 주식회사열린책들
- 뒤포, 조르주, "프랑스 사회사: 1789~1970" (2000), 동문선
- 랴자놉스키, 니콜라스 V, "러시아의 역사 (하)" (2011), 까치글방
- 대니엘즈, R. V, "스탈린 혁명" (1997), 도서출판 신서원
- 박원용, "‘개인’과 ‘집단’의 변증법: 1930년대 스탈린 체제의 신체문화 이미지를 중심으로", 동북아 문화연구, 1(36), pp.391~413 (2013), 동북아시아문화학회[DOI]
- 버거, 존, "사회주의 리얼리즘" (1988), 설화당
- 블래닝, 팀, "옥스퍼드 유럽현대사" (2003), 도서출판 한울
- 손철성, "마르크스의 반유토피아주의와 그 원인에 대한 연구", 윤리교육연구, (12), pp.111~128 (2007), 한국윤리교육학회
- 슐긴, "러시아 문화사" (2003), 도서출판 후마니타스
- 스타이츠, 리처드, "러시아의 민중문화: 20세기 러시아의 연예와 사회" (2008), 도서출판 한울
- 신중섭, "과학기술에 의한 유토피아의 건설 : 과학기술과 구성주의적 합리주의"", 과학철학, 3(1), pp.1~34 (2000)
- 오진곤, "1930년대 소련 사회주의 리얼리즘과 영화의 역사적 배경에 관한 고찰", 사회과학논총, 21, pp.413~438 (2014)
- 정태수, "러시아-소비에트 영화사 Ⅰ" (1998), 도서출판 하제
- 정태수, "30년대 사회주의 리얼리즘에서 60년대 전반까지 쏘비에트 영화사에 나타난 창작법칙의 전개", 영화연구, (13), pp.510~522 (1997)
- 정현두, "1930년대 전반기 소비에트 영화와 <차빠예프>", 노어노문학, 16(1), pp.521~544 (2004), 한국노어노문학회
- 조준배, "정치국에서 크렘린 집무실까지: 소련의 공업화 정책과 스탈린", 동국사학, (55), pp.569~603 (2013), 동국역사문화연구소[DOI]
- 찰스끼, 루나, "사회주의 리얼리즘: 세계관과 창작방법의 문제" (1987), 일월서각
- 톰슨, 크리스티, "세계영화사: 영화의 발명에서 무성영화 시대까지 1880s~1929" (2000), 시각과언어
- 톰슨, 크리스티, "세계영화사: 음향의 도입에서 새로운 물결들까지 1926~1960s" (2000), 시각과언어
- 휴아코, 죠지, "영화예술의 사회학" (1999), 경성대학교출판부
- 흘레브뉴크, 올레크 V, "스탈린: 독재자의 새로운 얼굴" (2017), 도서출판 삼인
- Beumers, Birgit, "A History of Russian cinema" (2013), Bloomsbury Academic
- James, C. V, "사회주의 리얼리즘론: 기원과 이론" (1990), 도서출판녹진
- Kenez, Peter, "Cinema and Soviet Society: From the Revolution to the Death of Stalin" (2009), I.B.Tauris&Co Ltd
- Miller, Jamie, "Soviet Cinema: Politics and Persuasion under Stalin" (2010), IB.Tauris
- Taylor, Richard, "The Film Factory, Abingdon" (2002), Routledge
- Viola, Lynne, "Contending with Stalinism" (2002), Cornell University Press