THE THREE FACES OF PEOPLE’S CINEMA: A CRITICAL REVIEW OF THE SOUTH KOREAN INDEPENDENT CINEMA MOVEMENT IN THE 1980S

@article{ART001395883},
author={ 박노출 },
title={THE THREE FACES OF PEOPLE’S CINEMA: A CRITICAL REVIEW OF THE SOUTH KOREAN INDEPENDENT CINEMA MOVEMENT IN THE 1980S},
journal={Acta Koreana},
issn={1520-7412},
year={2009},
volume={12},
number={2},
pages={21-53},
doi={10.18399/acta.2009.12.2.002},
url={http://dx.doi.org/10.18399/acta.2009.12.2.002}

TY - JOUR
AU - 박노출
TI - THE THREE FACES OF PEOPLE’S CINEMA: A CRITICAL REVIEW OF THE SOUTH KOREAN INDEPENDENT CINEMA MOVEMENT IN THE 1980S
T2 - Acta Koreana
PY - 2009
VL - 12
IS - 2
PB - 계명대학교 한국학연구원
SP - 21-53
SN - 1520-7412
AB - This study examines the origin and development of people’s cinema (minjung yŏnghwa) as the determining feature of the South Korean independent cinema movement in the 1980s. Defying the simplistic description of people’s cinema as political propaganda which arose in the mid 1980s, this study illuminates the multiple aspects of the idea that originated from the intricate dialogues between youth culture, minjung discourse and theories of resistant filmmaking. The 1980s youth culture rooted in universities is examined first to see how the youth culture functioned as both the producer and consumer of resistant cultural practices including people’s cinema. Based on this discussion, this study tackles the three main aspects of people’s cinema. First, it shows that people’s cinema emerged as an alternative film aesthetic to conventional narrative cinema, a variation of which was film documentary. Second, along with analysis of the film texts, it also shows how people’s cinema ideologically flanked cinema as an instrument of political activism. Lastly, it discusses the way in which people’s cinema developed into a national cinema thesis (minjok yŏnghwaron) in combination with North Korean film theory.
KW - South Korean independent cinema, people’s cinema, activist cinema, national cinema thesis, North Korean film theory
DO - 10.18399/acta.2009.12.2.002
UR - http://dx.doi.org/10.18399/acta.2009.12.2.002
ER -

박노출 (2009). THE THREE FACES OF PEOPLE’S CINEMA: A CRITICAL REVIEW OF THE SOUTH KOREAN INDEPENDENT CINEMA MOVEMENT IN THE 1980S. Acta Koreana, 12( 2), 21- 53.

박노출 . 2009, “THE THREE FACES OF PEOPLE’S CINEMA: A CRITICAL REVIEW OF THE SOUTH KOREAN INDEPENDENT CINEMA MOVEMENT IN THE 1980S”, Acta Koreana, vol. 12, no. 2, pp. 21-53. Available from: doi:10.18399/acta.2009.12.2.002

박노출 “THE THREE FACES OF PEOPLE’S CINEMA: A CRITICAL REVIEW OF THE SOUTH KOREAN INDEPENDENT CINEMA MOVEMENT IN THE 1980S” Acta Koreana 12.2 pp. 21-53 (2009): 21.

박노출 . THE THREE FACES OF PEOPLE’S CINEMA: A CRITICAL REVIEW OF THE SOUTH KOREAN INDEPENDENT CINEMA MOVEMENT IN THE 1980S Acta Koreana [Internet]. 2009; 12( 2), : 21-53. Available from: doi:10.18399/acta.2009.12.2.002

박노출 . “THE THREE FACES OF PEOPLE’S CINEMA: A CRITICAL REVIEW OF THE SOUTH KOREAN INDEPENDENT CINEMA MOVEMENT IN THE 1980S” Acta Koreana 12, no.2 (2009): 21-53. doi: 10.18399/acta.2009.12.2.002

홈 권호 목록 논문 목록 논문 상세

THE THREE FACES OF PEOPLE’S CINEMA: A CRITICAL REVIEW OF THE SOUTH KOREAN INDEPENDENT CINEMA MOVEMENT IN THE 1980S

Acta Koreana

약어 : -

2009, vol.12, no.2, pp.21 - 53

DOI : 10.18399/acta.2009.12.2.002

발행기관 : 계명대학교 한국학연구원

연구분야 : 기타인문학

박노출¹

¹University of Seoul

인용한 논문 수 : - 서지 간략 보기

초록

This study examines the origin and development of people’s cinema (minjung yŏnghwa) as the determining feature of the South Korean independent cinema movement in the 1980s. Defying the simplistic description of people’s cinema as political propaganda which arose in the mid 1980s, this study illuminates the multiple aspects of the idea that originated from the intricate dialogues between youth culture, minjung discourse and theories of resistant filmmaking. The 1980s youth culture rooted in universities is examined first to see how the youth culture functioned as both the producer and consumer of resistant cultural practices including people’s cinema. Based on this discussion, this study tackles the three main aspects of people’s cinema. First, it shows that people’s cinema emerged as an alternative film aesthetic to conventional narrative cinema, a variation of which was film documentary. Second, along with analysis of the film texts, it also shows how people’s cinema ideologically flanked cinema as an instrument of political activism. Lastly, it discusses the way in which people’s cinema developed into a national cinema thesis (minjok yŏnghwaron) in combination with North Korean film theory.

키워드

South Korean independent cinema, people’s cinema, activist cinema, national cinema thesis, North Korean film theory

참고문헌(21)

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