어트랙션 몽타주로 조망하는 부산영화의 신파성 연구 -<해의 비곡>(1924)과 <국제시장>(2014)을 중심으로-

Abstract

‘Sinpa(新派)’ belongs to the identity of Korean film aesthetics. I’ve analyzed The Tragedy of the Sea from early Busan film era and a recent film, Ode to My Father, with the concept of Sinpa. In the early days of Busan, its cinematic environment was similar to the one of Kyungsung, and movies were at the center of the media. Sinpa was considered as a driving factor for the industry. Sinpa was criticized in terms of criticism discourse and performance, but it flowed into the representative aesthetics in the period of the Shin Minji, and thus forming the basis of Korean film history. Sinpasung can be subdivided into five elements: Sinpa scene, Sinpa narrative, Sinpa flaw, Sinpa emotion and Sinpa character. These elements are attracted to each other and expressed as Sinpasung. Sinpa started as a discourse on an influenced style, was transformed in the historical flow, and settled as a sense of beauty on the basis of Korean film history. Sinpa is the main driving force that makes an attraction montage of Korean melodrama or Sinpa movies. The scenes of Sinpa are related to a fall of a family or separation from loved ones. The narrative of Sinpa is close to the genre formula of Sinpa movies. The typical trend of the Sinpa narrative is attributed to the success and fall of a father who has been given responsibilities for family restoration. Sinpa flaws can be divided into institutional flaws, moral flaws, and economic flaws. Institutional flaws are linked to moral flaws and are based on the monogamy patriarchy. The representative flaws are maintenance of the family system, crisis of economic collapse, and crisis of possible member loss. The economic flaws add up to separation from a woman caused by economic inability of a man. Typical examples can be found in Janghanmong and Deceived by Love, Crying over Money. Institutional flaws result in failure in joining as a family member and sacrifice of a woman who is a weak person. Moral flaws work as breaches and punishments for purity and monogamy. Sinpa emotions are divided into emotions expressed by the main character and by the audience. The main character’s feelings lean towards negative feelings of guilt, victim mentality, self-torture and compassion. The audience feel compassion and sadness for the pain and sacrifice of the weak. Ode to My Father and The Tragedy of the Sea are typical movies that are set in Busan and embody the city’s emotions and history. These two pieces confirm the fact that Sinpa attracts the past and the future and forms the basis of Korean film identity.