지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
This paper analyzes Sweet Dream(Dr. Yang, Junam, 1936, 48 min) as the result of collaboration between Japanese policy and Korean male elites in order to critique modern girl. This film which had been noted as the oldest film in that time was discovered in 2005. Sweet Dream was produced by Japanese Wakegima Shujiro who was the CEO of Kyungsung Studio. The heroine Aesoon is not powerful and active vamp but is the typical vamp who can destroy men. This type of heroine as typical vamp had not appeared in the history of korean films from the start to 1936 besides Aesoon. Thus this paper tries to interpret the signs of socio-cultural and define historicity that connected with Sweet Dream.
While Choi Dokkeon, the scenario writer of Sweet Dream was famous for the popular novel writer and the director of DongYang theater that was the biggest theater company of Korea, but Yang Junam, director of Sweet Dream was a newcomer director. So it’s possible to think that the main subject and narrative would be made by Choi Dokkoen. The popularity of this film was due to the heroine who had never been in the screen of that time but could be seen in the popular novels. This film has the main story composed of erratic married woman with the robbery scenes and car chase scenes which were the exiting to audiences. The audience could be satisfied vicariously through heroine Aesoon and see her punished.
This is the proof that Sweet Dream reflects the important factors of Japanese and Korean popular culture. The critique of modern girl was concerned with the women policy and the movie policy of Japan and Korean male elites responded to these Japanese policies. Because they didn’t have the vision of independent nation-state so they didn’t want to lose the vested power of gender and tried to use modern girl as the attractive factor of popular cultural product.
While Choi Dokkeon, the scenario writer of Sweet Dream was famous for the popular novel writer and the director of DongYang theater that was the biggest theater company of Korea, but Yang Junam, director of Sweet Dream was a newcomer director. So it’s possible to think that the main subject and narrative would be made by Choi Dokkoen. The popularity of this film was due to the heroine who had never been in the screen of that time but could be seen in the popular novels. This film has the main story composed of erratic married woman with the robbery scenes and car chase scenes which were the exiting to audiences. The audience could be satisfied vicariously through heroine Aesoon and see her punished.
This is the proof that Sweet Dream reflects the important factors of Japanese and Korean popular culture. The critique of modern girl was concerned with the women policy and the movie policy of Japan and Korean male elites responded to these Japanese policies. Because they didn’t have the vision of independent nation-state so they didn’t want to lose the vested power of gender and tried to use modern girl as the attractive factor of popular cultural product.
목차
1. 들어가는 말
2. 애순, 시대가 소비한 뱀프vamp
3. 애순, 신여성/모던 걸, 대중매체
4. 일제의 정책과 조선 남성들의 공모에 의한 ‘신여성’ 마녀사냥
5. 맺음말
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2013-600-001167601