上海摩登/京城毛斷: 1930년대 소비문화 공간의 매체와 여성 이미지 (Shanghai Modern(上海摩登)/Gyeongseong Modern(京城毛斷) : Media and Women’s Image in the Consumption Culture Space in the 1930s)

서지정보

· 발행기관 : 한국근현대미술사학회(구 한국근대미술사학회)
· 수록지 정보 : 한국근현대미술사학(구 한국근대미술사학) / 19호 / 190 ~ 210페이지
· 저자명 : 문정희

초록

Of those visual images which could describe the colonized city of Gyeongseong (present-day Seoul) in the 1930s as the term “modern,” “women” was well manifested through the most popularized media. Likewise, common Western/Oriental mixed elements could be found in Gyeongseong and Shanghai. Gyeongseong showed phenomenon that were very similar to the popular images projected by Shanghai which encompassed elements of an international city although Shanghai became a colonial settlement in the early modern age and was influenced by Japanese colonial rule. Significantly successful were researches on artistic modernism from the perspectives of the history of fine arts system and the history of styles. But research on “modern” from the perspectives of the history of fine arts culture has yet to be activated, and “modern” has yet to be further researched from the interdisciplinary convergence perspectives across social and cultural spectrums.
But the temporal characteristic of women’s images that were created in the urban space of Gyeongseong in the early modern age was not just limited to Gyeongseong; such women’s images held a simultaneous common characteristic in the transcendental area, because in Shanghai, China, as well as Japan which led the development of cutting-edge fashions, the attribute of “modern” emerged as a spatial-temporal phenomenon. The “modern” image of women shown in Shanghai and Gyeongseong could be said as the most common international style of the 1930s. The two cities were very different in terms of the history and size of development, but commonly handled “women” of the early modern times.
To date, the dichotomic distinction between old/new, men/women, colony founding nations/colonies, center/periphery, and cities/rural areas has dominated the agenda of humanities sciences that argue “modern.” But these efforts have been limited without prompting active discussions. Thus, this study examined how the gestures and poses similar to those of heroines in Hollywood movies that described the Western society were expressed as the desire for consumption culture in the image of women of Gyeonseong and Shanghai. Also, this study examined the international elements of the “modern” style in the 1930s. Accordingly, questioning why the image of women shown in mass media of urban spaces emerged as a universal phenomenon in East Asia, this paper identified the temporal needs of “Oriental classics” that were hidden in the mixed “modern” style that represented the West.

영어초록

Of those visual images which could describe the colonized city of Gyeongseong (present-day Seoul) in the 1930s as the term “modern,” “women” was well manifested through the most popularized media. Likewise, common Western/Oriental mixed elements could be found in Gyeongseong and Shanghai. Gyeongseong showed phenomenon that were very similar to the popular images projected by Shanghai which encompassed elements of an international city although Shanghai became a colonial settlement in the early modern age and was influenced by Japanese colonial rule. Significantly successful were researches on artistic modernism from the perspectives of the history of fine arts system and the history of styles. But research on “modern” from the perspectives of the history of fine arts culture has yet to be activated, and “modern” has yet to be further researched from the interdisciplinary convergence perspectives across social and cultural spectrums.
But the temporal characteristic of women’s images that were created in the urban space of Gyeongseong in the early modern age was not just limited to Gyeongseong; such women’s images held a simultaneous common characteristic in the transcendental area, because in Shanghai, China, as well as Japan which led the development of cutting-edge fashions, the attribute of “modern” emerged as a spatial-temporal phenomenon. The “modern” image of women shown in Shanghai and Gyeongseong could be said as the most common international style of the 1930s. The two cities were very different in terms of the history and size of development, but commonly handled “women” of the early modern times.
To date, the dichotomic distinction between old/new, men/women, colony founding nations/colonies, center/periphery, and cities/rural areas has dominated the agenda of humanities sciences that argue “modern.” But these efforts have been limited without prompting active discussions. Thus, this study examined how the gestures and poses similar to those of heroines in Hollywood movies that described the Western society were expressed as the desire for consumption culture in the image of women of Gyeonseong and Shanghai. Also, this study examined the international elements of the “modern” style in the 1930s. Accordingly, questioning why the image of women shown in mass media of urban spaces emerged as a universal phenomenon in East Asia, this paper identified the temporal needs of “Oriental classics” that were hidden in the mixed “modern” style that represented the West.

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