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An Exploratory Study of the History of Korean Film Censorship

  • The Journal of Korean drama and theatre
  • 2018, (59), pp.51-84
  • DOI : 10.17938/tjkdat.2018..59.51
  • Publisher : The Learned Society Of Korean Drama And Theatre
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : February 7, 2018
  • Accepted : February 24, 2018

Junhyoung Cho 1

1한국영상자료원

Accredited

ABSTRACT

This paper has a goal to examine several issues of history of Korean film censorship research, and by this seeks a new direction. To this end, this paper attempts to describe some topics that have been overlooked in that field, have not received much attention compared to their importance, or require re-thinking. The first is who is talking about censorship. Until the Korean Film Archive open censorship documents to the public, the most basic material in the censorship research were testimonies, especially of film directors. But testimonies conducted by an artistic and self-conscious author, who is not a direct party to an administrative censorship, are at risk of conveying inaccurate information, distorting of the entire censorship system or exaggerating damage. This paper will discuss this issue by comparing the testimony of the director with the censorship documents in the case of Choehuui Jeungin(The Last Witness). The second relates to the criticism of the tendency to understand the nature of censorship as limitation and deletion only. The most important issue in recent censorship studies is the productivity of censorship(or productive censorship, constitutional censorship). In this article, I will examine some cases focusing on how to see the productivity of censorship in Korean film history. The third is to examine the relationship between the censor and the censored, and the personality of the censor, based on the testimony of Lee Namki, who was responsible for censorship in the Ministry of Culture and Public Information in the 1970s.

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