할리우드가 재현하는 한국전쟁과 미국군인, 1950-1953
Hollywood’s Representations of the American GI in the Korean War
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한국전쟁이 할리우드가 2차 세계대전을 다룬 전쟁영화를 통해 구축한 영웅으로서의 미국군인 이미지에 균열을 일으켰던 것은 분명하다. 하지만 이 영웅 이미지의 균열이 한국전쟁 기간 동안 제작된 할리우드의 한국전쟁 영화 속 미국군인의 재현방식을 지배했던 것은 아니다. 반대로 할리우드의 한국전쟁 영화는 다음 세 가지 목적을 위해 제작되었다. 균열된 이미지의 회복, 동아시아 내 미국의 정치적 중요성의 선전, 그리고 미국의 한국전쟁 참전의 정당화. 본 논문은 할리우드의 제작사들이 어떠한 정치적 그리고 산업적 배경 속에서 한국전쟁 영화를 제작하게 되었는지에 대한 설명에서 출발해, ‘회복’, ‘선전,’ 그리고 ‘정당화’라는 이 세 가지 목적이 할리우드 한국전쟁 영화 속에서 어떻게 표현되었는지를 살펴볼 것이다. 이를 위해 본 논문은 <철모 The Steel Helmet> (사뮤엘 퓰러 Samuel Fuller, 1951)와 <전장의 서커스단 Battle Circus> (리차드 브룩스 Richard Books, 1953), 이 두 편의 영화를 구체적으로 분석할 것이다.
Abstract
During the Korean War,1950-1953, Hollywood made about thirty-two feature films, most of which were co-produced with the Department of Defense. The image of American soldiers during the Korean War, as many historians claim, was both part of that of the American soldiers in the World War II and somewhat different. Agony, sorrow, discouragement, and fear formed their war experience in the distant country of Korea. These images were captured by war correspondents such as David Douglas Duncan and effected not only the ways in which the public were to see the war, but also how the Truman administration managed the war. The previous studies on Hollywood’s Korean war movies have focused particularly on these questions: why such different images appeared, how the U.S government responded to them, and how these images changed during the course of the war. But, little attention has been paid to from which these negative images came originally and how Hollywood’s Korean war movies tried to bring it back to the heroic image of the American soldier during World War II. By analyzing two Hollywood’s Korean War films, The Steel Helmet and Battle Circus, this paper will show how and why the image of the American G.I as victims was put into Hollywood’s Korean war movies that were made during the Korean war and how it was recovered to its original status in the history of American G.I., the comeback hero.
참고문헌 (51)
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- Deputy Corporation, "The Steel Helmet", ~ (1951)
- 20th Century Fox, "Fixed Bayonets", ~ (1951)
- Jack Schwarz Productions, "Korea Patrol", ~ (1951)
- Spartan Productions, "Mask of the Dragon", ~ (1951)
- Paramount, "Submarine Command", ~ (1951)
- Breakston-McGowan Productions, "Tokyo File 212", ~ (1951)
- Columbia, "A Yank in Korea", ~ (1951)
- Samuel-Goldwyn, "I Want You", ~ (1951)
- 20th Century Fox, "Why Korea?", ~ (1951)
- Paramount, "Submarine Command", ~ (1952)
- Allied Artiest, "Torpedo Alley", ~ (1952)
- Universal, "Back at the Front", ~ (1952)
- RKO Radio Pictures, "One Minute to Zero", ~ (1952)
- United States Pictures Productions, "Retreat, Hell!", ~ (1952)
- Rainbow Productions, "My Son John", ~ (1952)
- MGM, "Glory Alley", ~ (1952)
- Allied Artists, "Battle Zone", ~ (1952)
- Rockingham Productions, Inc, "Mr. Walkie Talkie", ~ (1952)
- Bernhard Productions, "Japanese War Bride", ~ (1952)
- 20th Century Fox, "The Glory Brigate", ~ (1953)
- MGM, "Battle Circus", ~ (1953)
- MGM, "Take the High Ground!", ~ (1953)
- Columbia, "Sky Commando", ~ (1953)
- Carl Krueger Productions, "Sabre Jet", ~ (1953)
- Columbia, "Mission Over Korea", ~ (1953)
- Paramount, "Cease Fire", ~ (1953)
- Border Production, "Combat Squad", ~ (1953)
- Republic, "Flight Nurse", ~ (1953)
- Breakston-Stahl Productions, "Geisha Girl", ~ (1952)
- 20th Century Fox, "Niagara", ~ (1953)
- MGM, "Men of the Fighting Lady", ~ (1954)
- Paramount, "Bridges at Toko-ri", ~ (1954)