The discussion about Angel without a House(1941, Choi In-kyu) was polorized as 'national realism' and 'pro-Japanese cinema.' In this paper, I attempt to identify the feature and pecularity of that film and analysing the context of the colonial culture industry in fascsim, the form of the text, and the spectatorship, locating various dualities of that film which is consisted of 'propaganda/entertainment,' 'nationalization/industralization,' 'vouyerism/exhibitionism,' and 'social Darwinism/Lamarkianism.' Consequently this paper suggests below. First, in Angel without a House the feature of the 'pro-Japanese' is not satisfied by Japan colonial administer, because that is driven by the desire for industralization, not the ideology for Japan imperialism. So transitional Pro-Japanese Cinema (1940～1943) is the dynamic product which hope to consume the rule of the 'New Regime.' Second, the realism of the Angel without a House is attributed to desire exhibitionism by Chosun people. But that exhibitionism can not invite the vouyerism of the State in this film, by the peculiar form and 'aestheticized politics' of the colonial fascism. Third, in this film the oscilliation between 'social Darwinism' and 'Lamarkianism' is attributed to recensorship by Japan colonial administer.
1. 〈집 없는 천사〉의 이중성과 불온한 성격
2. ‘이행적 친일 영화’와 ‘신체제 애트랙슌’
3. 〈집 없는 천사〉에 나타난 식민지 파시즘의 노출증
4. 〈집 없는 천사〉의 이중 의식, ‘사회진화론’과 ‘라마르크주의’사이에서
5. 결론
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