국가가 쓰는 영화 역사─1970년대 영화진흥공사 기관지 『영화』의 한국영화사 기술에 대한 소고 (A Film History Which Is Being Written by the State─A Brief Review of the Korean Film History by Yeonghwa of Yeonghwajinheunggongsa in the 1970s)

서지정보

· 발행기관 : 한국극예술학회
· 수록지 정보 : 한국극예술연구 / 63호 / 93 ~ 125페이지
· 저자명 : 심혜경

초록

『영화』는 영화법 4차 개정으로 1973년 4월 영화진흥공사가 설치되면서 발행을 시작해 1994년 11월호(통권 157호)로 휴간한 기관지이다. 이 잡지는, 영화계의 숙폐를 청산하기 위해 한국영화진흥조합이 해체되고 영화법이 개정되어 영화진흥공사가 설치되면서, 1972년 3월부터 조합이 발행해왔던 『코리아 시네마』를 승계한 것이었다. 『영화』는 기관지였음에도 1970년대 내내 당대 최고의 영화전문지로서의 위치를 지켰다.
영화법 4차 개정과 영화진흥공사의 설립목적이 ‘국산영화 우선의 진흥 원칙’에 있는 만큼, 『영화』의 기조 역시 이를 대변한다. 『영화』는 국가가 노골적으로 관할하는 극예술과 관변 저널리즘과의 유착 관계를 잘 볼 수 있다. 기존의 민간영화잡지의 성격을 갖으면서도, 국가의 영화정책을 홍보하고 각종 지원책을 설명할 뿐 아니라, 유신체제 하에서 한국영화가 담아내야할 주제와 내용까지도 꼼꼼하게 소개하고 있었다. 그중 영화전문 기관지로서 가장 흥미로운 점은, 『영화』가 많은 지면을 할애해 한국영화 역사의 기록과 원로영화인들의 회고를 싣고 있다는 점이다. 이 시기 왜 『영화』는 저간의 한국영화사를 회고하며, 다시금 기술하는 것일까? 어떤 영화가, 어떤 영화인이, 어떤 영화사적 사건이 정전으로 등장/배제되는가를 살펴보면서, 예술과 기관지라는 매체가 가지는 저널리즘에 대해 분석한다.

영어초록

The cultural policy of the 1970s was established to refine and elevate state-led nationalist discourses. Yeonghwa(The Monthly Cinema) is an institutional magazine issued from July in 1973 immediately after the foundation of Yeonghwajinheunggongsa(the Motion Picture Promotion Corporation; MPPC). This magazine succeeded Korea Cinema, which had been published by Hanguk Yeonghwajinheungjohap(the Korean Motion Picture Promotion Association), the semi-governmental institution. Korea Cinema was considered "educational publication for filmmakers" and it was created by the personnel representing the film industry and it dealt with urgent issues related to the Korean film industry as some ideological censorship. Yeonghwa, which was published after Korea Cinema, was more of its status as a high-quality magazine specialized in film for “filmmakers”, in terms of the differentiated quality as compared with other film magazines of the time. It played a faithful role as "a friend" of cine people and "a guide for film restoration," clearly differentiated from other magazines of the time focused on gossipy issues.
On the other hand, the principle of Yeonghwa represents the government direction, in the sense that the film policy announced by the Ministry of Culture Promotion in 1973 was oriented to pursue "realization of ideology of Yushin and protection of nationalism" and the establishment objective of the MPPC pursuant to the fourth amendment of Film Act consisted in "principle of promotion prioritizing the national film." Therefore, Yeonghwa is a text demonstrating the close correlation between art policy directly controlled by the national and governmental journalism. While this magazine has some similarity with private film magazines of the time, it not only promotes film policies of the State and explains diverse support measures, but also meticulously indicates themes and contents of do's and don'ts of the Korean films under the regime of Yushin. What is most interesting about this magazine as an institutional magazine specialized in film is that it constantly publishes records of the Korean film history of the early stage as well as reflections of the old representative cine by devoting lots of space in the magazine. What makes Yeonghwa reflect on the Korean film history of the past and describe it again today? This article will analyze an art-oriented institutional magazine showing peculiar journalism and history-writing, while inquiring into which film, filmmakers and film historical events appear or are removed as a canon.

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