1950-1960년대 한국 영화포스터 이미지 연구 (Reflection of Desires and Ideals: The Korean Movie Posters in the 1950s and 1960s)

서지정보

· 발행기관 : 한국근현대미술사학회(구 한국근대미술사학회)
· 수록지 정보 : 한국근현대미술사학(구 한국근대미술사학) / 19호 / 94 ~ 113페이지
· 저자명 : 문혜영

초록

This study aims to contextualize the images of Korean movie posters, particularly, of the 1950s and 1960s within its social and cultural setting. Movie posters produced in responding to the boom of Korean movie industry, as the primary visual reference shed a light on the issues regarding to how industrialization, urbanization, and capitalistic values changed the visual culture of Korea in the 1950s and 1960s.
First, I have examined the economic and political circumstance in Korea during the 1950s and 1960s, which led the boom of Korean movie industry, and discuss the distinctive visual elements that differentiate the 1950s-1960s movie posters from earlier ones. Secondly, I have categorized 410 movie posters, which survived today out of 1,799 movies produced in the 1950s and 1960s, under several different thematic categories such as “Split Moral Values,” “Idealized Traditional Values,” and “Westernized Desire.” I attempt to analyze the iconographic relationship of each thematic category with the content of the movie, and the social and cultural circumstance of the 1950s-1960s Korea.
In the category, “Split Moral Values,” accelerated immediately after the Korean war (1950-1953), I have discussed posters, which mainly portray such images as “War Widow,”“Western Princesses (an euphonism for prostitute who particularly served for oversea U.S. soldiers),”“Liberal Lady,” and “Après Guerre (After War in
French).” In the “Idealized Traditional Values,” I have analyzed those that represent the images of a dedicated mother and a hard-working father of the middle class. Finally, in the “Westernized Desire,”I point out that various material goods and its related backdrop image that reflect overflowing consuming culture in the 1950s and 1960s.
The 1950s and 1960s Korean movie posters can be characterized as its straightforward images of consuming culture and its exaggerated rendition of unfiltered desire and emotions. I believe that placing movie posters in the frame of visual culture, and understanding their significance in the cultural and social context will allow us to find out more about how moral and social values had been changed, and gave an impact on popular visual culture in the unstable, yet exciting period of time like the 1950s and 1960s.

영어초록

This study aims to contextualize the images of Korean movie posters, particularly, of the 1950s and 1960s within its social and cultural setting. Movie posters produced in responding to the boom of Korean movie industry, as the primary visual reference shed a light on the issues regarding to how industrialization, urbanization, and capitalistic values changed the visual culture of Korea in the 1950s and 1960s.
First, I have examined the economic and political circumstance in Korea during the 1950s and 1960s, which led the boom of Korean movie industry, and discuss the distinctive visual elements that differentiate the 1950s-1960s movie posters from earlier ones. Secondly, I have categorized 410 movie posters, which survived today out of 1,799 movies produced in the 1950s and 1960s, under several different thematic categories such as “Split Moral Values,” “Idealized Traditional Values,” and “Westernized Desire.” I attempt to analyze the iconographic relationship of each thematic category with the content of the movie, and the social and cultural circumstance of the 1950s-1960s Korea.
In the category, “Split Moral Values,” accelerated immediately after the Korean war (1950-1953), I have discussed posters, which mainly portray such images as “War Widow,”“Western Princesses (an euphonism for prostitute who particularly served for oversea U.S. soldiers),”“Liberal Lady,” and “Après Guerre (After War in
French).” In the “Idealized Traditional Values,” I have analyzed those that represent the images of a dedicated mother and a hard-working father of the middle class. Finally, in the “Westernized Desire,”I point out that various material goods and its related backdrop image that reflect overflowing consuming culture in the 1950s and 1960s.
The 1950s and 1960s Korean movie posters can be characterized as its straightforward images of consuming culture and its exaggerated rendition of unfiltered desire and emotions. I believe that placing movie posters in the frame of visual culture, and understanding their significance in the cultural and social context will allow us to find out more about how moral and social values had been changed, and gave an impact on popular visual culture in the unstable, yet exciting period of time like the 1950s and 1960s.

참고자료

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