In this paper, I attemt to identify Park Ki-chae's authorship in the adaptation of Heartlessness(Mu-jeong). Firstly, I compare and analyse the articulating of the plot between Lee kwang-Su's original novel Heartlessness (Mu-jeong)(1918) and Park Ki-Chae's scenario Heartlessness(Mu-jeong) (1938). Secondly, I analyse the Park's authorship as the overdetermined effect of three phase, which are Park's individual personality as the film director, the specialization and dividing of Chosun cinema industry, and the emergent female reader-spectatorsip as the consumer-suject. Consequently, this paper suggests below. First, there are six charateristics in the adatation from original novel to scenario, that are 'the reduction of the quantity', 'the reduction of the quantity with specific intention', 'the elimination of the enlightment,' 'the reduction and transformation of the popularity,' 'the enlargement and transformation of the passing-time', and 'the replacement from the melodramatic mode to moderated style.' The mode of the adatation from original novel to scenario is the the feminization of Heartlessness(Mu-jeong)(1918). Second, the feminization of Heartlessness(Mu-jeong) is attributed to Park's individulal personality that is the combination of Park's spirit of author and his ability of well- addressing to female audience. Three, the feminization of Heartlessness (Mu-jeong) is also attributed to the specialization and dividing of Chosun cinema industry, developing woman's film genre by studio production system. Finally, the adapion of Heartlessness(Mu-jeong) is the attempting to articulate the emergent female reader-spectatorship and 'sexual modernism' in colonial Chosun.
1. 영화 <무정>의 밤
2. 원작소설 무정과 시나리오 <무정>의 플롯 분절화
3. 소설에서 영화로 각색의 특징과 무정의 여성화
4. 주체와 ‘무의식적 촉매’로서 박기채의 작가성
5. 식민지 조선에서 ‘여성용 영화 장르’의 형성과 부상하는 여성 독자․관객성
6. 맺는 말
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