『춘향전』의 근대변용사와 제국: 활자매체, 대중음악 그리고 극영화예술로의 이행

최세훈(Se-hoon Choi)

《韓國學研究論文集》 4期 (2015/12) Pp. 249-270

https://doi.org/10.6624/PCCUJKS.2015.14

並列摘要

This article examines the various mode of modern adaptation of The Romance of Chunhyang(춘향전) in the context of negotiations between tradition and modern art form, commercialism and technology. The folk tale of Chunhyang was most popular narrative since 18th century. It has transformed into various artistic genres reflecting contemporary liberalism and capitalism, and rapid changing social value. In the aspect of literacy form, it has reformed from the old Sino-Korean language to modern colloquial language, from the old novel to the modern novel, from the classical Banggak novel(방각본 소설) to the mass publication novel with illustrations. In the cultural ideological aspects, several authors attempted to undermine the Sino-centrism in The Chunhyang enhancing nationalism elements in order to establish the foundation of national literature. Those new art movement trends was prompted by the influx of western art genres which are mostly introduced during the Japanese empire and the new technological media such as radio, phonograph, and films. The beginning of the national radio broadcasting service made a great impact on the distribution of The Chunhyang on a national scale. The limitation of time and geographical space has diminished. The reproducibility of phonograph and record brought unprecedented innovation to the mass culture milieu. This change, however, deformed the aesthetic completion of the 'Pansori'(판소리). Some frontiers who engaged in the field of performing arts endeavored to modernize the conventional performance adopting modern western theatrical elements. It wasn't smooth at the early phase but eventually they could continue the legacy of traditional Korean performing art by creating the 'Changgeuk' (창극) and 'Gukgeuk' (국극). The cinematic adaptations of The Chunhyang in 1923 and 1935 were contentious conversions in the art history because it is understood as a dialectical interactions between the colonial Chosen and imperial Japanese film industry. Film was considered as an international art form so many film makers and critics thought that they could attain the modernity in art filed. By filming The Chunhyang they attempted to appeal the 'Koreaness' (조선적인 것) to the global audiences, eventually however they failed due to the imperial government's increasing restrictions. It showed the new art movements need to be redefined in light of complex imperial hierarchies.

並列關鍵字

The Romance of Chunhyang ； Colonial modern adaptation ； 'Banggak' novel ； 'Sinyesul' movement ； Radio ； Phonograph ； Changgeuk ； Colonial Korean Cinema