최정현 애니메이션 작가론 -<방충망>, <상흔>, <그날이 오면>을 중심으로-

초록

Choi Jeong-hyun, widely known for his satirical comic series “Banzzzogi,” also worked on animation in the early 1980s. In 2023, Choi’s animated works 〈Bangchungmang〉 (1983), 〈Sangheun〉 (1984), and 〈Geunali Omyeon〉 (1987) were restored through the Oral History Project on Independent Films by the Seoul Independent Film Festival (SIFF) and the Korean Film Archive, and were presented to the public for the first time at the Seoul Independent Film Festival. While Lee Yong-bae’s 〈The Sleeping Buddha〉 (Wabul, 1991) has been widely recognized as Korea’s first independent animation, the recent restoration of Choi’s works has revealed that independent animators were active in the 1980s, thereby marking a significant shift in the historical narrative of Korean independent animation. This discovery goes beyond the mere excavation of forgotten works; it underscores the crucial role Choi Jeong-hyun’s animation played in shaping the foundations and evolution of Korean independent animation. His works not only reflect his philosophical and sociopolitical messages as an artist but also serve as key examples for exploring how his author theory was realized through animation. This paper centers on Choi Jeong-hyun’s works to discuss the value and necessity of independent animation, and to address broader issues concerning the diversity and identity of Korean animation. Choi’s animations, created during the early 1980s under the oppressive regime of the military dictatorship, embody the spirit of the cultural movements of the time. While these works may superficially appear to adhere to the typical themes of that era, they contain distinctive artistic elements unique to Choi Jeong-hyun. His animations should not be viewed merely as part of the broader cultural movement of the 1980s; rather, their true value must be analyzed through the lens of Choi’s author theory. This research delves deeply into the roots of Korean independent animation by examining Choi Jeong-hyun’s author theory, aiming to shed light on the identity and legacy of Korean independent animation. Additionally, it seeks to revisit and reassess the history of Korean independent animation, emphasizing the significance of rediscovering works that have been lost to history and highlighting the importance of ongoing research in this field.

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