영화에서의 일제말기 신체제 옹호 논리 연구

A Study on the Logic of Support for the 'New Film System' during the End of Japanese Colonial Period

The purpose of this paper is to examine why Korean film artists adjusted themselves to the Japanese Imperialism during the end of Japanese colonial period. In 1939, An Association For Chosun Film Artist(朝鮮映畵人協會), and in 1942, Chosun Film Making Company(朝鮮映畵製作株式會社) was organized by The Government-general on Korea(朝鮮總督府). Specially, this paper importantly deals with circumstances at that time. After the outbreak of the Sino-Japanese War in 1937, the imperialist Japan which had announced the 'New System' intended to use the film, a weapon of propaganda and agitation, as one of control policy. They controlled the films by merging the production and distribution companies in Korea. According to the related data, however, many Korean film artists appear to have accepted the Japanese imperialistic policy for their own interest. Many Korean film artists accepted the Chosonyounghwaryoung(朝鮮映畵令: Korea Film Act) hoping that the industrialization of Chosun film companies would stabilize the livelihood and keep their vested rights, and export the Chosun films abroad. The stabilization of living was the biggest temptation to resist. Some film artists even supported the New System voluntarily and deliberately following the logic of the Greater East Asia Co-Prosperity Sphere(大東亞共榮圈) between the Western and Eastern confrontation.