문예봉, 발명된 ‘국민 여배우’의 계보학 -‘은막의 여배우’의 훈육과 ‘침묵의 쿨레쇼프 효과’를 중심으로- (Mun Yie-Bong, The Genealogy of the 'National Screen Actress' -Focusing on the Disciplining the 'Silver Screen Actress' and the 'Kuleshov Effect of the Silence.'-)

서지정보

· 발행기관 : 한국영화학회
· 수록지 정보 : 영화연구 / 46호 / 157 ~ 211페이지
· 저자명 : 주창규

초록

This paper attempts to identify the reputation of the Mun Yie-Bong, 'the national actress.' Using the genalogical analysis(Michele Foucault) for this project, I analyse the discourse of the female actress, the context of Chosun cinema industry, ctritic, and sepctatorship on the Colonial Chosun from 1920s to 1940s. Consequently this paper suggests below. First, as the 'new subject' 'silver screen actress' was the public women which allowed to 'social mobility' for 1920s early. So she were different to 'the traditional woman,' the modern 'new woman,' and the 'theater actress.' Second, 'power technology' attempted to discipline the 'silver screen actress' from 'new subject to 'docile body' by the discouse porduction of the 'silver screen actress,' which is consists of 'surveillance technoloy,' 'reference technology,' and 'confess technology.' Third, the priviliged star image of Mun Yie-Bong as the 'national screen acress' was the result and the product of the successful internalization the 'power technolgy,' which is intended to discipline the 'silver screen actress' as the 'new subject.' Fourth, adding on the the successful internalization the 'power technolgy,' the priviliged star image of Mun Yie-Bong as the 'national screen acress' was overdetermined by the context of the 'Chosun Cinema institution' which is consists of film industry, critic, and spectator for 1930s. In <Wanderer(Nageune)>(1937, Lee Kyu-Hwan), the priviliged star image of Mun Yie-Bong as the 'national screen acress' was comlpeted to silence and desexual female close up shot by 'Kuleshov effect of the silence,' that is the trade mark of Mun Yie-Bong as the 'national screen acress.' Fifth, for Japanese imperialism the priviliged star image of Mun Yie-Bong as the 'national screen acress' was mobilized and appropriated at the 'transitional pro-Japanese cinema(1940～1943) (for example, <Volunteer (Ji-wonbyeong)>(1941, An Seok-Young) and <Straits of Joseon (Joseonhaehyeob)>(1943, Park Ki-Chae)). But Japanese imperialism was also challenged by the appropriation of the priviliged star image of Mun Yie-Bong as the 'national screen acress.' In sum, while the subjectification of Mun Yie-Bong as the 'national screen acress' was the object of 'power technology,' the performativity of the objectification was cause to the failure of the power regime.

영어초록

This paper attempts to identify the reputation of the Mun Yie-Bong, 'the national actress.' Using the genalogical analysis(Michele Foucault) for this project, I analyse the discourse of the female actress, the context of Chosun cinema industry, ctritic, and sepctatorship on the Colonial Chosun from 1920s to 1940s. Consequently this paper suggests below. First, as the 'new subject' 'silver screen actress' was the public women which allowed to 'social mobility' for 1920s early. So she were different to 'the traditional woman,' the modern 'new woman,' and the 'theater actress.' Second, 'power technology' attempted to discipline the 'silver screen actress' from 'new subject to 'docile body' by the discouse porduction of the 'silver screen actress,' which is consists of 'surveillance technoloy,' 'reference technology,' and 'confess technology.' Third, the priviliged star image of Mun Yie-Bong as the 'national screen acress' was the result and the product of the successful internalization the 'power technolgy,' which is intended to discipline the 'silver screen actress' as the 'new subject.' Fourth, adding on the the successful internalization the 'power technolgy,' the priviliged star image of Mun Yie-Bong as the 'national screen acress' was overdetermined by the context of the 'Chosun Cinema institution' which is consists of film industry, critic, and spectator for 1930s. In <Wanderer(Nageune)>(1937, Lee Kyu-Hwan), the priviliged star image of Mun Yie-Bong as the 'national screen acress' was comlpeted to silence and desexual female close up shot by 'Kuleshov effect of the silence,' that is the trade mark of Mun Yie-Bong as the 'national screen acress.' Fifth, for Japanese imperialism the priviliged star image of Mun Yie-Bong as the 'national screen acress' was mobilized and appropriated at the 'transitional pro-Japanese cinema(1940～1943) (for example, <Volunteer (Ji-wonbyeong)>(1941, An Seok-Young) and <Straits of Joseon (Joseonhaehyeob)>(1943, Park Ki-Chae)). But Japanese imperialism was also challenged by the appropriation of the priviliged star image of Mun Yie-Bong as the 'national screen acress.' In sum, while the subjectification of Mun Yie-Bong as the 'national screen acress' was the object of 'power technology,' the performativity of the objectification was cause to the failure of the power regime.

참고자료

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