한국 근대시의 시적 전환과 영화 체험의 상관성

Interrelationship of poetic conversion and movie experience at Korean modern poetry

&nbsp;&nbsp;In Chosun, Movie was imported in early 1900s. As the theater was founded successively in the country as well as Seoul in the 1920s, movie was settled by new entertainment art. Therefore, movie experience was essential thing for a literary man at that time.<BR>&nbsp;&nbsp;Attempts to connect movie with literary works were achieved in the 1930s. For example, montage was realized by method for enlightening effect by left-wing film critics. It was used by technique of film-making both left-wing and right-wing in movie. Literary men also used montage by literary technique. For example, they arranged different scenes side by side and bounded scenes that arouse equal emotion.<BR>&nbsp;&nbsp;The most important impact of movie is change of sight in poem. Owing to camera eye, the poets recognized another gaze between subject and object. As the result, it can be defended that the subject assimilates the object one-sidedly.<BR>&nbsp;&nbsp;‘Camera eye’ is grasped most clearly in imagism poems. Lee Jang-Hee took a close-up a cat’s body in “Spring Is A Cat”. Jung Ji-Yong expressed camera eye as moving a sight from a far scenery to a near scenery in “The Sad Impressionist Picture”. The window of the train acts as lens of camera in “The Gaslamp” of Kim Gwang-gyun. Each described sceneries can be compared scenes of movie.<BR>&nbsp;&nbsp;The effect of movie appears in poems that are both real and fantastic. The fantastic image of "Dream Of A Cat"(Lee Jang-Hee) resembles closely with a scene of the German expressionism movie "The Cabinet of Dr. Caligari". Although a direct evidence cannot be found out, the fantastic poems of Lee Jang-Hee must be influenced by movie. And “Ogamdo 11th” of Lee Sang is similar to “The Blood Of A Poet” of Jean Cocteau. Lee Sang left a lot of clues that show movie experience in poem and prose.