버나큘러 모더니즘의 스타로서 무성영화 변사의 변형에 대한 연구

The Transformation of Silent Cinema's Byeonsa as the Star of Vernacular Modernism in Colonial Chosun

In this paper, I attempt to identify the historicity of Byeonsa(the live narrator of silent cinema in colonial Chosun) as the star of Vernacular Modernism(Miraim Hansen). Generally, Byeonsa was criticized as premodern figure of Chosun film industry and film art by native film critics, and was criticized as impurities of cinema by native scholar. On the other hand, it was essentializely misrecognized as modernism(the other of classical cinema) by west scholar(Noel Burch). Alternatively, this paper deals with the historical transformation of 'Byeonsa as institution' from the object of worship to the the object of a scandal, and expalins it by competing and resisting the sound of vernacular space against the hegemonic modern temporality in colonial Chosun, according to four contexts(1. Film aesthetic which is relate to classical Hollywood cinema. 2. Censorship for colonial domination of Japan. 3. The undevelopment of film industry. 4. Vernacula spectatorship which were both early and classical cinema asynchronously). Consequently, this paper suggests the resoration of th subaltern voice and vernacular modernism through the sound of the audience and Byeonsa in colonial public sphere and silent cinema.