1) Purpose: This journal aims to develop popular culture by promoting the public value of knowledge through research and education on popular narratives. 2) Research Field : The submission paper is an academic paper related to cultural phenomena such as popular literature, movies, dramas, K-pop, cartoons, and various content platforms, and should not have been published in other academic journals, journals, and periodicals.
As a case study, this paper historicizes the film culture in Namchon district in Keijo(京城) based on a preliminary research on the film ephemera produced during the colonial period.
Through cross-examining articles appeared in Japanese newspapers and magazines at the time, this paper empirically reconstructs the Japanese settlers’ film culture in Keijo, a colonial city whose cultural environment was ethnically divided into ‘Bukchon’ and ‘Namchon.’ During the silent era, movie theaters in the Namchon district not only played a role of cinema chain through which films imported and distributed by Japanese film companies were circulated and exhibited but also served as a cultural community for Japanese settlers who migrated to a colony. The film ephemera issued by each theater not only provided information about the movie program, but also connected these Japaneses settlers in colonial city, Keijo to the homogeneous space and time in Japan proper. Both as a minority and colonizer in a colony, these Japanese settlers experienced a sense of ‘unity’ that could ‘distinguish’ their ethnic identity differentiated from Koreans through watching movies in this ethnically segregated cultural environment. In doing so, they were also able to connect themselves to their homeland in Japan Proper, despite on a cultural level. This is a cultural practice that strengthens a kind of long distance nationalism.
Examining Japanese film culture through film ephemera would not only contribute to the previous scholarship on modern theater culture and spectatorship established since the 2000s, but also be a meaningful attempt to find ways and directions for film history research through non-film materials.
This paper examines the ways in which Hollywood feature films produced and widely circulated with the establishment of the studio system was consumed in the ethnically segregated Korean movie theaters in Kyǒngsǒng in the 1920s. Focusing on how those theaters appropriated what Hollywood represented, this paper has three objectives. First, from a historical and economic perspective, I will historicize the emergence of so-called prestige pictures and how movies became a branded product in that process. Second, I will also loot at how Chosǒn Theater, one of the earliest movie theaters in the Korean-resident area in Kyǒngsǒng who sought to be a prestigious movie palace actively exploited Hollywood brand, by foregrounding its Paramount connection, in particular. Lastly, through a close reading of weekly programmes and handbills, I will examine how these promotional print materials, as an intermediating medium, helped to supplement the audiences’ viewing of Hollywood movies while creating loyal audiences.
This paper examines printed materials such as weekly newsletters and leaflets issued by Dansungsa, a movie theater in Colonial Korea for a promotional purpose as independent modern media. During the 1920s and 1930s, in tandem with the development of the incipient printing houses in Namchon, Gyeongseong, including Suyeongsa, Dansungsa published promotional prints including weekly newsletters and leaflets in a serial manner to compete with Joseon-gukjang and Umigwan. As these materials contain various information including movie programmes, spectatorship, distributional channels, and promotional strategies that bears witness to theater culture of this time, this paper focuses on the dynamics where not only text and image but also audiences and filmic texts are mediated one another. To this end, the paper has three objectives. First, I argue that weekly newsletters and leaflets can be considered as ‘flickering media’ that meddles in text and image culture. Second, Dansungsa’s promotional prints interpellated film audiences as a loyal fan group while mediating audiences and filmic texts. In doing so, I suggest that these print materials established its own cultural domain differentiated from filmic culture itself. Third, these ephemeral materials contributed to narrowing the gap between colonial Joseon and the World in its imaginary geography through the function of mediation.