2019, Vol., No.64

A Further Discussion of the Performance Activities by ‘Sochundaeyuhui’ at Hyupyulsa(1902-1903)─A Comparative Study on the Gwangdae Hwageuk of the Period of Enlightenment Described in Foreigners’ Travel Essays

Baek Doosan | 2019, (64) | pp.13~41 | number of Cited : 6

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The Implied Spectator of Drama in 1920s and the Changing of Horizon of Expectations—Mainly about the Representation of Lower Class in Bokeoal(Blowfish Eggs, 1925)

Lee Kwang ouk | 2019, (64) | pp.43~87 | number of Cited : 3

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Until now, theatrical historical phenomena that emerged intensively in the early 1920s have been noted in that they have visualized the emergence of ‘Sinkeuk(new drama)’. However, existing studies have given to this phenomenon the epochal value but have not been able to see it from a long-term perspective, and the continuous process of implementing it to the theater history of the 1930s has not been fully established. This study was assumed that the continuity of the drama history could be more closely organized when it came to the aspect of spectorship that existed as a constant of the play. The existence of 'spontaneous spectator' that were highlighted through the performance of the student theater troupes in the early 1920s could be the first step to explain the original form of the modern drama in colonial era. However, this spectotor's character cannot be preserved immediately until the 1930s. The main purpose of this study was to pay attention to the unique spectatorship that formed in the early 1920s was to be accepted as a implied spectator to the producers of the play, and how it was adjusted through changes in the cultural environment. As shown in the performance reviews of the Towolhoe, the horizon of expectation requested by the theater producers of colonial chosun was to make the public a receiver of the play, and begins to materialize in the form of a creative play that represent their lives on stage. At this time, newspaper articles could be the basis for playwrights to guarantee the veracity of the case. In particular, this study was able to identify the significant influence between plays and newspaper articles through Lim Youngbin's Bokeoal(blowfish eggs). The implied spectator he set up can be described as a retrospective version of the 'spontaneous spectator' formed in the early 1920s, and only if this is the case, Bokeoal can be read beyond the superficial event and into more meaningful content. In other words, the death of a family due to ignorance could be sublimated into a tragic ending that suggests the collapse of the entire ethnic community. But by the mid-1920s, expectations for spontaneousness of the spectator could not have been the same as before when the amatuer drama movement became inertia, the energy of the spontaneous spectator shrank, and the play also established a status as a cultural product. During this time, playwrights will be given the task of adjusting the previously set statue of the implied spectator by referring to the real spectator who entering the theater. What was inevitably required in this process was a formative way to ensure completeness within the text and create a broader consensus, which eventually required the structural backstabbing of the event, called 'the contradiction of colonialism' to be brought into the text in some way. However, this has also increased the threat of censorship. Thus, the exploration of an effective detour was the another task to reach the 1930s play.

The Study for the Korean Mood of Baegujaakgeukdan Performances in the Early Period

Kim, Donghyun | 2019, (64) | pp.89~120 | number of Cited : 3

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Awareness about Speech and Change in Stage Language in Korean Dramas in the 1950s and 1960s

PARK MIRAN | 2019, (64) | pp.121~151 | number of Cited : 1

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This study aims to investigate the characteristics of dramas in this period as modern dramas by examining the awareness and aspect of change in the speech in the world of Korean drama in the 1950s and 1960s. As you may know, rising men of the theater in the 1950s and 1960s pursue more natural acting styles, criticizing the exaggerated acting style and speech of the existing dramas in the 1950s and 1960s. However, since the pursuit of temperate expressions has been a common task in the world of theater, covering both existing men of the theater and rising ones, understanding the criticism of exaggerated speech as a pursuit of reality and everydayness cannot be a complete explanation about why the rising men of the theater called speech into question in earnest. The emphasis of speech in the dramas in the 1950s and 1960s is important in that it is associated with the awareness about accurate Korean speaking. Establishing speech, for them, is a method that enables deeper acting, breaking from the method ‘busy expressing a feeling or atmosphere’ and has a meaning as the right use of Korean as part of Korean education as well. Accordingly, actors seek a change in stage language, attempting various linguistic styles on the stage. Dramas during this period aimed at more natural and more everyday conversations, avoiding abstract lines or a one-way delivery method and would test the potential of language through various attempts, e.g., Adjusting the tempo of lines or using dialects overall. The change in the speech of the dramas in the 60s did not simply aim at speaking in ‘everyday language’ but considered the appropriateness of style as well, which can be pointed out significantly. In the world of the theater during this period, the awareness of the necessity of a change in speech according to the style of the drama, classical dramas, such as realist dramas or Greek dramas and comedy and the awareness of the distinctive characteristics of speaking in a stage language differentiated from that in broadcasting dramas. Like this, the pursuit of accurate speech considering the appropriateness of style is associated with the pursuit of expertise in drama, which contributed to the Korean drama’s achievement of modernity different from the existing stage.

Film Censorship as a ‘Procedure’ Fallen into Self-contradiction Focused on Censorship Process of (Disguised) Joint Produced Films in the 1970s

Arum Song | 2019, (64) | pp.153~188 | number of Cited : 2

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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.

Hayanjeonjaeng(White Badge, 1992), Making the Vietnam War Memories from a Progressive Nationalist Males’ Perspective

CHO SEO YOUN | 2019, (64) | pp.189~228 | number of Cited : 5

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Hayanjeonjaeng(White Badge, 1992) is the first film to criticize Korean troops dispatching the Vietnam War in earnest. It is a significant work in the field of struggle of memories surrounding the dispatch of Korean troops to Vietnam. The understanding of the Vietnam war and the identity of the Korean troops in Hayanjeonjaeng can be summarized as ‘America's mercenary.’ It was the outcome of anti-Americanism and criticism of Korean military dictatorship which were widely shared in the Korean film industry, from the 1980s to 1990s, after the Gwangju Uprising. And it has completely overcame the official Vietnam War memory called anti-communist war that laid the foundations of modernization of the country. Hayanjeonjaeng embodied the civilian massacre in Vietnam War by the Korean troops and the trauma of the war veterans, superimposed the US military camp towns’ issues and the democratization struggle in the recollection of the Vietnam War, thereby revealed that Vietnam War was an international proxy war made up of a subordinate relationship between the United States and South Korea and an ethical blot of South Korean history. But in the process of cinematic representing the trauma memories, the Korean troops were placed in the position of the victim who has been sacrificed by the Korean military regime and the United States, and the awkward position of the veterans who were both the perpetrators and the victims was arranged in the self-centered way. In addition, by sexualizing and alienating Korean women in the US military camp town and Vietnamese women in the Vietnam military camp town, Hayanjeonjaeng followed the male-centered violence of the postcolonial nationalism discourse at the time the film was made and justify the Korean men as pure victims. The narration of victimization of the Korean troops and the gender insensitivity were blind spots in the view of the progressive nationalist males that was the basis of the insights of Hayanjeonjaeng. Through the analysis of that, we could see what the cinematic representation of war memories should aim at in the context of 'politics of regret' to look back on the past for the future change.

A Study on the Power and Justice of the Press in Korean Television Dramas─With a Focus on <Pinocchio>, <The Healer>, <Jojak>, and <Argon>

Park, Sang-Wan | 2019, (64) | pp.229~272 | number of Cited : 0

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There is a heterogeneous gap between people's perceptions of the press in reality and the patterns of the press reproduced in television dramas. Based on this problematic consciousness, this study set out to conduct a general review of its power and justice in Pinocchio, The Healer, Jojak, and Argon. Chapter 2 examined individual lives damaged by the corruption and graft power. Pinocchio and The Healer depict unspecified individuals that fall victim to the power because they are the weak that cannot resist it. These individuals show the violent nature of evil and motivate the main characters to act in a dramatic way. Unlike these dramas, Jojak and Argon depict individual journalists with social influence that are chosen by evil for their influence and become its tools. Being used by evil with no power and methods to inform people of truth, they contribute to the embodiment of the thematic consciousness and make the viewers reflect on media justice. Chapter 3 examined the media power. In Pinocchio and The Healer, the press is described as a puppet for men of political and economic power. These two dramas, however, fail to provide a critical viewpoint of the press that committed evil deeds itself beyond being manipulated by them, thus raising a possibility that the media can justify itself. In Jojak and Argon, the press is depicted as an organization with greater power than men of political and economic power. These two dramas too fail to show the self-examination of the press, thus confirming the power of the press that has become too massive to need no excuse for itself. Chapter 4 examined the media justice. Focusing on the process of covering news, Pinocchio and The Healer put an emphasis on the message that journalists should handle only facts as they are. The truth excavated in the process is used as a ground to punish evil, but the problem is illegal ways of covering new. The duplicity of the press is shown which tries to avoid its responsibilities while exercising its influence instead of public power. Focusing on the reporting process, Jojak and Argon emphasize a message that truth should not be covered up but revealed to the world. Here, however, there is still the possibility of beautification by the press itself. Investigative journalism programs make an in-depth inquiry into the truth of an event, but they have a difficult time securing objectivity and impartiality, which suggests that the delivery of truth through them can also be another way of self-beautification on the part of the press. Truth is emphasized in television dramas on the press. In television dramas, the press avoids its ethical responsibilities on the ground of truth and tries to obtain social influence by means of truth. In the end, the press is granting power to itself.

Anti-Japan Performativity of Korean through Manchurian Theater─Li, Fu Shi, 『Korean Theater in Manchukuo』(2018, Jisikgwagyoyang)

LEE JIN-A | 2019, (64) | pp.275~286 | number of Cited : 1

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2019, Vol., No.64