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The American Movie Theory and Post-colonialist Cultural Planning in the Period of the National Liberation

han Young Hyeon 1

1세명대학교

Accredited

ABSTRACT

This article focuses on the American movie theory in the period of the National Liberation to explore the concrete contents and forms of movie that the Joseon movie pursued in the course of post-colonialist cultural planning. The reason why American movies were important in the period of the National Liberation was that American movies were imported in Joseon as a way of America’s cultural policies for her occupied territory. The Central Film Distribution Office undermined Joseon’s movies and culture in earnest by playing a foothold role in distributing and showing American movies. Therefore, the American movie in the period of the National Liberation was an important issue that showed what efforts the Joseon movie made to establish national movies or a national state in the geography of discourses surrounding it. Drawing on this point, and focusing on the Central Film distribution Office, the article analyzes the aspects of Joseon people’s reaction to American movies that proceeded to monopolize Joseon’s film market. Moreover, through this course, it explores the course of Joseon people’s evocation of national film art as a strategy for coping with the commercialism and entertaining properties of American movies and their reflection on how Joseon movies should be produced for the sake of the establishment of the nation and the state. On the other hand, with the moviesand travel essays created in the course of such reflection, this article analyzes whether the Joseon movie as post-colonial cultural planning proceeded toward the way of true post-colonialism. Here, we can evaluate the Nation, the State, and ‘things that are Joseon-like’ as staying at a naïve and ideal dimension and causing the problem of final approval of ‘America’ while unable to considering the Cold War, trusteeship, and ‘imperialism-colonialism.’

Citation status

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