프로키노 영사회 관람공간의 성격과 <연돌실 페로(煙突室ペロー)>
The nature of space in Prokino’s screenings and <Entotsusitsu Pero>
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Abstract
Prokino(1928-1934) could not make films that captured the attention of audiences because of the lack of manpower and money. Inferior screening conditions including outdoor screening, bad equipment, and poor accompaniment added to its negatives. For these reasons, the audience never seemed to pay complete attention while viewing their films. They engaged in simultaneous conversation, arbitrarily analyzed the film, and commented on the various aspects of it while they viewed it. In such a free atmosphere, the viewing space became a space of resistance when the audience was composed of workers, and a cognate space of colonial people when the audience was composed of Koreans in imperial Japan. Because of relaxed viewing conditions and the proletarian camaraderie of audience in the screening, audiences regarded <Entotsusitsu Pero> as an antiwar film. But <Entotsusitsu Pero> was not an antiwar movie but a juvenile movie.
- keywords
- 프로키노, 관람 공간, 관객들 간 연대, 저항적 공간, 연돌실 페로, Prokino, viewing condition, Audience, Camaraderie of audience, Space of resistance, Entotsusitsu Pero
참고문헌
現代と思想
プロレタリア映画
プロキノ映画
文化評論
部落問題と文芸
映画クラブ
東亜日報
キネマ旬報
新興映画
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雨宮幸明, ｢プロキノ映画 山宣渡政労農葬 フイルムヴァリエーションに関する考察｣, 立命館言語文化研究 22-3, 2011, 111-124面.
禧美智章, ｢影絵アニメーション 煙突室ペロー とプロキノ－1930年代の自主制作アニメーションの一考察｣, 立命館言語文化研究 22-3, 2011, 21-33面.
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