식민지 조선영화에 있어 근대성에의 욕망과 초민족적 경향에 대한 연구

A study on desire to modernity and trans-localism of colonial period Chosun film

The core principle of the history of Korean cinema was nationalism. In this regard it was inevitable that the films of colonial period were suffered the fate of deletion. But such a reaction would fall under the fantasy of homogeneity. This article does not intend to regard pro-Japanese state films of late colonial period as a mere accident. Rather it was the outcome of colonial characteristics. In other words, they followed their un/conscious desire constructed out of particular historical condition, namely colonial modernity, in volunteering for the production of pro-Japanese state films. The cooperation with the New system was itself a treason. However its historical meaning does not end there. In case of Chosun cinema, the treason eas part of the project to achieve modernity. it was cooperation with Japanese empire, and at same time, it was cooperation with the power named western modernity. It was given circumstance regardless of internal potential of Chosun film.