접경(Contact Zones)의 연쇄로서 해방 공간과 허위와 무위의 영화적 공간

초록

This research explored to identify the unfavorable condition inherent in Hurrah! Freedom (1946), Sinless Sinner (1948) and Night Before Independence (1948) of that the works of Choi In-gyu, who one of the most problematic characters in the Korean film history of liberation space, as a cinematic representation of the chain of “Contact Zones” that Korean society faced after liberation. This approach is to overcome the limitation of naming Korean movies after the release of Korean films, without paying attention to the lack of works, in many existing discussions analyzing and interpreting Choi In-gyu's movies shortly after liberation. In addition, this approach is to stop that this unfinished state was regarded as merging from merely the confusion of Korean society and the poverty of the production environment. The texts mainly covered in this study are the films Hurrah! Freedom and Night Before Independence, which are among the three trilogy of Choi In-gyu's ‘liberation film’. Both texts identify the unfinished state concealed by the call of the new origin of Korean cinema, which often appears in the evaluation of his film after liberation, and shows where its cause is. Through this, after the liberation of Choi In-gyu, the film became a phenomenon of post-colonialism and the cultural representation of the contact zones Korean society faced by liberation space, resulting in a semantic shift as a crack in the film caused by the practice of nation state construction. The US military affairs and sole government in liberation space have a character of contact zones as a prototype of conflict between political subjects and radical inequality between economic subjects. The traces of the unfinished and the pre liberation stories of Hurrah! Freedom and Night Before Independence are a cinematic appratus that proves the impossibility of reproducing the film as a practical practice of the nation state construction together with the later colonization of liberation space. Moreover, the unfavorable unfinished state of the Night Before Independence and the empty sign in the ending are meaningful as the first testimony of Choi In-gyu on the reduction and closure of the cinematic space where the chain of contact zones leading to liberation-US military affairs-sole government accelerates.

키워드