영화 <수업료>와 조선영화의 좌표

Abstract

Choe Ingyu was one of active movie directors in the end of Japanese colonial rule. The beginning of his works was the Sueopryo, (1940). After that he directed a series of policy movies under the Japanese imperialism. These movies encountered with a demand what was called ‘New Order of Cinema’. The Sueopryo was the first movie. The movie’s scenario was a prizewinner of Gyoungilsohaksengsinmun(경일소학생신문). At that time, imperialist Japan announced the third educational law as well as the particular army volunteer order. The revision of educational law had accomplished by the demand of Japanese military authorities. Such political background emphasized an education that was important thing. The Sueopryo was projected with the Jiwonbyeong at the almost same time. At the same time, the Tomodachi was children’s film which had made by Simiz Hirosi that had propaganda for ‘the practice of oneness of Korea and Japan’. A producer Yi Changyong arranged Japanese a scenario writer Yagi Yastaro and Japanese actor Usuda Kenji under the slogan of ‘interchange between Korea and Japan’. They were leaders who had leading the ‘New Order of Cinema’ of Joseon. Moreover the Sueopryo corresponded with ‘New Order’ at the side of language. The film was the first movie which used Japanese voluntarily and attracted people’s attention as epochal film in a linguistic conversion from Korean to Japanese. The space of the movie separated school and other place where divided according to Japanese and Korean. Such the bilingual situation reflected a lingual condition exactly in Joseon. At once, this film showed a good example that could use Japanese in Joseon cinema. Furthermore the Sueopryo didn’t take exaggerated and exotic existing forms to show the local color. To show the local color, the movie took with a strategy that highlighted a school to describe Joseon as a part of Empire. The school in the Sueopryo wasn’t different with Japanese school. It was Joseon in future–Japanese Joseon itself.