60년대 중반 영화비평담론의 새로움 -영상에 대한 이해를 중심으로- (The Newness of Korean film criticism in mid-1960s)

서지정보

· 발행기관 : 한국영화학회
· 수록지 정보 : 영화연구 / 41호 / 61 ~ 79페이지
· 저자명 : 문재철

초록

This study aims at shedding light on the trend of Korean film criticism in mid-1960s. Especially this article focus on the way in which Korean film criticism imagined the image of film. In doing so, I would explain the historical meaning of newness that 1960s-generation critic had achieved.
These Korean critics were interested in new-post war european directors who made modern cinema. For example, the films of Antonioni, Bergman, Resnais were aesthetic standard which korean film critics want to reach out. These pursuit to modern films, the critical terms in 1960s, were aesthetic coordinates that meant the disconnection from old generation critics.
For example, getting out of dependence on literature was very important desire to realize the value of film. In this way the valuation of image had strong influence on the formation of 1960s's korean film critic discourse. Unlike its antecedent of the 1950s, Korean film criticism of 1960s strive to catch up with the current of the new style of world cinema.
In these sense I would argue that what makes the trend of film criticism of 1960s interesting lies not in its imitation of european modern cinema but in the discovery of the value of image.

영어초록

This study aims at shedding light on the trend of Korean film criticism in mid-1960s. Especially this article focus on the way in which Korean film criticism imagined the image of film. In doing so, I would explain the historical meaning of newness that 1960s-generation critic had achieved.
These Korean critics were interested in new-post war european directors who made modern cinema. For example, the films of Antonioni, Bergman, Resnais were aesthetic standard which korean film critics want to reach out. These pursuit to modern films, the critical terms in 1960s, were aesthetic coordinates that meant the disconnection from old generation critics.
For example, getting out of dependence on literature was very important desire to realize the value of film. In this way the valuation of image had strong influence on the formation of 1960s's korean film critic discourse. Unlike its antecedent of the 1950s, Korean film criticism of 1960s strive to catch up with the current of the new style of world cinema.
In these sense I would argue that what makes the trend of film criticism of 1960s interesting lies not in its imitation of european modern cinema but in the discovery of the value of image.

참고자료

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