한국 괴기영화의 변화과정에 대한 연구 A Study on the Historical Changes of Korean Horror Film

Basic Information

Title

한국 괴기영화의 변화과정에 대한 연구 A Study on the Historical Changes of Korean Horror Film

Subtitle

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Parallel Title

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Country

국내

Production Date

2001-**-**

Language

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Size (mm)

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Pages

99

ISBN/ISSN

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Edition

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Master Files

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Producer

이순진 (중앙대학교 첨단영상대학원 영상예술학과 영화이론전공 석사 논문 저자)

Description

(논문요약)[목적] 본고에서는 80년대 이전의 괴기영화들을 98년 이후 공포영화의 전사 pre-history로 다룸으로써 그 유사성을 강조하기보다는 비평가들이 소급해서 공포영화로 호명한 개별 ‘괴기’영화들을 당대의 맥락에서 살펴보고자 한다. (영문초록)[영문초록] My thesis examines the broader cultural meanings of horror in Korean cinema from 1950s to the early 70s. Promulgated by Marxist-Feminist theory, film studies in the West has taken a sharp turn in the 70s, to prioritize the politics of film texts and spectatorship. Often, such effort led to the discovery of progressive popular texts that resist the logic of capitalist patriarchal cultural hegemony. No film genre has received greater critical attention than horror film in which the monstrosity has gained new definition and meanings. The Freudian theme of the Return of the Repressed had a special pertinence to theorize the subversive nature of horror genre. In the case of Korean cinema, critics often utilized this theoretical frame to come to terms with political implications of the genre. Korean horror films, in this vein, project the paradoxes and dilemma of modernity in which the past lingers on in the present My work, while keeping the political orientation, departs from the previous model. So often, the sc holarship has overlooked the specific and historical meanings of horror in Korean cinema, rushing to arrive at the evaluative conclusion. In contrast, my endeavor is to locate the film texts in their proper historical context. This historicization does not simply mean illustration of more historical data and information. By discerning the broader factors that formed the terrain of horror genre, I intend to set up a model for Korean genre studies in which industrial, cultural and social factors interact in complex ways to make the formation of film genre possible. Thus, genre itself is treated as a specific historical product in my work. This integrative and historically informed method that I propose here overcomes the serious problems of the rigid structuralist method that the contemporary Korean film critics uncritically dwell on. My work consists of two parts. The first part interrogates the broader historical meanings of The Story of Janghwa and Hongryeon, a pre-modern novel considered to be the origin of Korean horror stories. Although the novel clearly sets up the key terms for the horror genre, namely through supernatural elements, I argue that the novels contemporaneous meanings differed significantly from the present understanding. And, the early film adaptation of the novel emphasized the themes different from the later adaptations. I will illustrate and bracket the process of modification and change that made the emergence of the presently-conceived definition of the genre possible. The second part specifically concerns the industrial history of Korean horror cinema of the 1960s and the early 70s. I contend that the genre-fication of horror film took place in the mid-60s, circumscribed by various contextual factors. Among them, the success of foreign horror films, most notably Dracula films, made decisive imprints on the characteristics of Korean horror genre. More importantly, however, the structural changes in film industry during this period cultivated the fertile ground for the so-called B horror films. For the examination of generic characters and industrial forces, I conducted an extensive interviews with those who produced distributed this particular genre of the 60s. I will construct a history of marginal Korean films, often relegated and repressed from the dominant views, through this oral history. By relating the generic features to the historical and industrial changes, my work moves beyond the film genre criticism, posing new questions to the theory and method of Korean film history.

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