Abstract

In the latter half of the 1920's, various forms of history products on top of various layers of culture and entertainment were poured out. Commercialization of history confirmed especially by the success of 『The Prince Ma-eui』led active production of historical novels and historical tales, and, among those, historical tales were welcome by public with ardent cheers, being continuously produced everyday by news papers, radio broadcasting and expert magazines. Such business of 'historical tales', with the basis on the public demand for storytellers, becomes more prosperous as the time passes through the mid and latter half of 1930's, favored by appearance of new connection spaces such as theaters, broadcasting stations and magazines. With the appearance of radio stations, an important chance is provided for historical tales to be consumed on a daily basis and, favored by the successive publications of the first editions of Monthly Historical Tales and Historical Tales, which removed the limitations, in time and in space, of consumption of historical tales, it acquired much wider consumer marketand placed itself as a day to day entertainment. The way historical tales are produced, a method of expressing in words or letters the stories contained in many literatures including 『Samguk Yusa』and 『Samguk Sagi』, enabled prompt mass production within a short period of time. Consumers found fun in historical tales, coming from transformation or regeneration of history into modern products of vulgar epical structures and such fun was the motive power for the ceaseless production and consumption of history as entertainment under the name of historical tales in 1930's. Especially, these historical tales were the origin of the popular programs like "Jeonseoldara Samcheonri“ and "”, and is an interesting subject of study in the sense that it provided a basis for historical dramas to become a popular genre among Korean public epical products.