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나운규 <아리랑>의 영화적 근대성
한국연구재단 인문사회연구지원사업을 통해 연구비를 지원받은 연구자는 연구기간 종료 후 2년 이내에 최종연구결과물로 학술논문 또는 저역서를 해당 사업 신청요강에서 요구하는 수량 이상 제출하여야 합니다.(*사업유형에 따라 최종연구결과물 제출 조건이 다를 수 있음.)
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연구자가 한국연구재단 연구지원시스템에 직접 입력한 정보입니다.
저널명 |
한국문학이론과 비평
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발행정보 |
2006년 03월 01일
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Vol.10
No.1
/ pp. 177 ~ 199
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발행처/학회 |
한국문학이론과비평학회 |
주저자 |
김영찬
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저자수 |
1 |
초록
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영문
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Cinematic Modernity of Na Unkyu's ArirangKim Youngchan Na Unkyu's Arirang is clearly the origin of Korean Film. However it is in a entirely different sense from explanation and interpretation constructed by discourses of resistant nationalism and arti ...
Cinematic Modernity of Na Unkyu's ArirangKim Youngchan Na Unkyu's Arirang is clearly the origin of Korean Film. However it is in a entirely different sense from explanation and interpretation constructed by discourses of resistant nationalism and artistic realism. Modernity of Arirang was at first embodied through the aesthetic, social meaning and effect of Arirang's box-office value as commercial film. First of all, melodramatic characteristic of Arirang's narrative made a significant contribution to drag repressed experience and emotional structure which most of people in colonial modern society had shared together into public field of theater, and then to identify with them emotionally. And Arirang opened a possibility of realization of “Joseon film” as an independent modern popular art through organizing and maximizing the melodramatic genre-effect through means of improvement of film language and forms of expression. Especially “imagination of the nation” which was produced in watching experiences could be realize only by that melodramatic genre-effect. It is precisely that point where we can talk about modernity of Arirang as the origin of “Nation Film”.
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