• Title, Summary, Keyword: Kino Drama

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A Study On The Identity Of Yeonsegeuk(Kino-Drama) (연쇄극의 정체성 논의 - 총체예술론적 관점에서 -)

  • Kim, Sunam
    • (The) Research of the performance art and culture
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    • no.25
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    • pp.5-30
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    • 2012
  • I. Identity of Yeonsegeuk as total arts. The purpose of the thesis is to arrange the identy of Yeonsegeuk(Kino-Drama) which is theatre or film. The process of study is tried to discuss on the aethetic of Yeonsegeuk. II. Appearance of Yeonsegeuk and negative disputation of yeonsegeuk The first imported Yeonsegeuk from Japanese in Korea is made by the group of Mizuno Ganggetsu(水野觀月) on Oct. 16. 1915 at Pusan and also to run in Seoul at Hwanggeumgwan. The first of Korean Yeonsegeuk is by Kim, Dosan, a leader of Singeukjwa(theare group) on Oct. 27. 1919 at Danseongsa. Before the liberation of Korea from Japan all made korean Yeonsegeuk are 28 works. III. Dramatic form of Yeonsegeuk I study on the relation between Yeonsegeuik and Sinpageuik(new theatre of modern drama in 1920's). I find that Yeonsegeuik admitted the thechnics of the Sinpageuik and the contents. If We think that the theatre is synthetic art which genealize all arts, we can insist that the Yeonsegeuk is valued the total art as new performance to comply with film art to theatre. Conclusionly Yeonsegeuk is called 'Expanded Theatre' as the new performance which must be dicussed in the view of total art. VI. Discussion on the the aethetic of Yeonsegeuk When we compare the structure of film with the structure of theatre, we can't find a diffrent element between the structure of two art in art semiotic. But we find a fact that film art has special elements in mechanics character which are camera working and motage. These technics influence on the audience's mind. It is different point between Japan and Korean's Kino-drama and Germany's that is to admit the aethetic of total art or not. V. Yeonsegeuk as new performance During Korean modern times Kino-drama was first a kind of total art with stage and screen. But it is regretable that Kino-drama didn't have the background of theory which discourse on the comprehension of total art. As the result Kino-drama bring the confusion of argument that Kino-drama is total art or expanded theatre. This confusion will be disputed on film art as performing arts or future art as expanded film and total art.

Formal Characteristics of Joseon Films in the Early 1920s (1920년대 초반 조선영화의 형식적 특징)

  • Han, Sang-Eon;Chung, Tae-Soo
    • The Journal of the Korea Contents Association
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    • v.13 no.12
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    • pp.117-125
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    • 2013
  • Early 1920s, Joseon film production began with Japanese colonial rule organization and expanded into civilian. These films were influenced by the documentary film what recorded the scenery and the custom also influenced by kino drama that displayed the place of a dramatic incident. So these films developed into the form emphasize on place. At that time, hollywood serial films were popular. So the first Joseon films shooted a picturesque place and a landmark of the city in the background where heros took a risk. In the style stakes, Joseon films looked very similar to Japanese films. shooted long-take and long-shot, it had rhythm with narration of benshi and emphasized on visual excitation by using color. Early 1920s Joseon films which were similar to Japanese films changed from Japanese style to Hollywood style caused by Na woon-kyu's .

A Study on Korean Film Criticism at the Initial Stage - the case of the 1920s and the mid-1930s - (초창기 한국영화비평에 관한 연구 - $1920\sim1930$년대 중반까지를 중심으로 -)

  • Jeon Pyung-Kuk
    • The Journal of the Korea Contents Association
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    • v.5 no.6
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    • pp.193-208
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    • 2005
  • The purpose of this study was to look into Korean film criticism that started during Japanese occupation. It's specifically attempted to shed light on the development and significance of Joseon film criticism and on film movement theory as part of the history of Korean early modern film criticism. When kino-drama that could be called the start of Joseon movies was popular, enlightenment-based view of movie was rampant due to the inflow of western civilization and modernistic consciousness. Afterwards, the nature of movie itself drew a lot of attention from contemporary people in the silent picture days, and there appeared a critical trend in pursuit of artistry. Diverse criteria of criticism about reality and representation were presented, and a lot of disputes were eventually stirred up. Thus, criticism started to make a progress. A proletarian film movement theory, the so-called KAPF film campaign that was prevalent from the mid-1920s to the mid-1930s, was one of leading contemporary movie theories and took the lead in critic community. That had a great impact on the entire Joseon film circles. That took a proletarian view of movie, which was based on Bolshevik theory of Popularization and dialectic historical materialism. their criticism made a contribution to providing information on foreign movies and theories and to presenting main principles and multiple alternatives toward film organization and playing.

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