한국 반공영화 담론의 형성과 전쟁영화 장르의 기원 1949~1956
A Study of the Formation of Discourse on Anti-communist Films and the Origin of War Film in South Korea between 1949 and 1956
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This paper has three main purposes. Firstly, it examines the formation of discourse on anti-communist films. This discussion aims to prove that the term “anti-communist film” was used as an undoubted criterion rather than a generic term in the 1950s. The controversy on <Piagol>(1955) and <The Box of Death>(1955) played a main role in circulation of the term, “anti-communist films”. However, it was hard to call the term anti-communist film as a generic term during the 1950s. It simply meant that the film inspired anti-communist consciousness. Besides, it was the ideology-oriented and purpose-oriented classification standard rather than designated as popular genre. However, this term was not used without any historical background. The term anti-communist film was on the basis of “communist guerilla/espionage films”. Secondly, this study explores the origin of war film. This genre was formed on the basis of wartime documentary. There were a few “combat films”produced in the middle of the 1950s. Indeed, war films considered as combat films obtained the distinguished generic status rather than being designated anti-communist films in itself in the 1950s. Few people considered war films as anti-communist films. However, the controversial attention on anti-communist film was almost directed to the “communist guerilla/espionage films”. In other words, the original emblem of anti-communist film was not war films but communist guerilla/espionage films. Thirdly, the paper illustrates how communist guerilla/espionage films and war films represent “the enemy”. While communist guerilla/espionage films reflected the national urgency which has to search out the enemy, war films focused on the blood alliance between South Korean Army and U. S. Army more than being represented “the enemy” directly. The former included the perspective of civil war, while the latter involved the characteristics of international war. Consequently, although war film was linked to anti-communist film in some degree, it was forming the status of distinguished film genre. Keywords
Abstract
This paper has three main purposes. Firstly, it examines the formation of discourse on anti-communist films. This discussion aims to prove that the term “anti-communist film” was used as an undoubted criterion rather than a generic term in the 1950s. The controversy on <Piagol>(1955) and <The Box of Death>(1955) played a main role in circulation of the term, “anti-communist films”. However, it was hard to call the term anti-communist film as a generic term during the 1950s. It simply meant that the film inspired anti-communist consciousness. Besides, it was the ideology-oriented and purpose-oriented classification standard rather than designated as popular genre. However, this term was not used without any historical background. The term anti-communist film was on the basis of “communist guerilla/espionage films”. Secondly, this study explores the origin of war film. This genre was formed on the basis of wartime documentary. There were a few “combat films”produced in the middle of the 1950s. Indeed, war films considered as combat films obtained the distinguished generic status rather than being designated anti-communist films in itself in the 1950s. Few people considered war films as anti-communist films. However, the controversial attention on anti-communist film was almost directed to the “communist guerilla/espionage films”. In other words, the original emblem of anti-communist film was not war films but communist guerilla/espionage films. Thirdly, the paper illustrates how communist guerilla/espionage films and war films represent “the enemy”. While communist guerilla/espionage films reflected the national urgency which has to search out the enemy, war films focused on the blood alliance between South Korean Army and U. S. Army more than being represented “the enemy” directly. The former included the perspective of civil war, while the latter involved the characteristics of international war. Consequently, although war film was linked to anti-communist film in some degree, it was forming the status of distinguished film genre. Keywords
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