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Meta Discourse on Political Discourse in Korean Cinema (the first volume): Based on Jacques Rancière’s Three Regimes of Art

  • The Journal of Aesthetics and Science of Art
  • Abbr : JASA
  • 2022, 66(), pp.64-91
  • DOI : 10.17527/JASA.66.0.03
  • Publisher : 한국미학예술학회
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : April 20, 2022
  • Accepted : May 13, 2022
  • Published : June 30, 2022

Suh, Dae Jeong 1

1부산대학교

Accredited

ABSTRACT

The two opposite trends of politicization of aesthetics that dominated Japanese colonial era, namely, the discourse of enlightenment by KAPF and the Japanese Government General of Korea developed within the framework of an ethical system. This cinema discourse, which passed through the Japanese colonial period, was still valid during the U.S. military government period when the Japanese Empire was defeated. The “politicization of aesthetics” from Rancière’s perspective was trapped in a clear slogan and failed to advance to “the representative regime of art” After the Korean War, KAPF’s political voice was completely erased and realism discourse took over. The discourse of realism in the late 1950s, which was based on Italian neo-realism, which left a great mark in world film history, was introduced in Korea’s special situation. This is because summoning the spirit of KAPF in a divided country is bound to be socially and politically sanctioned. In addition, the state justified censorship and oppression while sticking to the paradigm of the ethical regime of art, armed with the slogan of “Myung-Rang” and soundness, used by the Japanese. Before the 1970s, the main purpose of Korean cinema discourse was to emphasize the ethos of art emphasized by the ethical regime of art.

Citation status

* References for papers published after 2022 are currently being built.

This paper was written with support from the National Research Foundation of Korea.