자가당착에 빠진 ‘절차’로서의 영화검열─1970년대 (위장)합작영화들의 검열과정을 중심으로

Abstract

The political stability desired by the government and erasure for this were the most basic framework to describe film censorship in the 1970s. Accordingly, rather than the substance of the censorship, the intention of the censorship based on a political stance was placed at the center. However, it is necessary to call to mind that the censorship of films was one of the tasks conducted centering around complicated administrative procedures and a lot of documents. Unless there is an error on documents after going through complicated procedures set forth by the authorities, it is a natural procedure to pass censorship. This suggests that when the goals of the state and the film industry were interconnected, there can be an easy conspiracy between the two subjects. Hong Kong-South Korean-made films that began increasing explosively in the 1970s show the other side of this censorship very clearly. While there were significant constraints in procedures, costs and importation quota of the importation of Hong Kong action films, which could guarantee box office hits, ‘co-production’ with Hong Kong was similar to Hong Kong films. Thus, it was an easy way to export, attracting the audience, and it was not necessary to care about the import quota. However, the films by joint production were changed into (disguised) films by joint production, which brought and released those already produced in Hong Kong, and the state permitted a large number of illegal films. This resulted from the state’s administration-centrism that could not but permit them, first, unless there were administrative and procedural problems and connivance for the ‘great cause’ of growths of exports and the industry, regardless of the goal to create ‘national arts.’ Like this, censorship is a flexible system that should consider multilateral matters rather than one-way suppression.