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ACOMS+ 및 학술지 리포지터리 설명회

  • 한국과학기술정보연구원(KISTI) 서울분원 대회의실(별관 3층)
  • 2024년 07월 03일(수) 13:30
 

대중서사연구

  • P-ISSN1738-3188
  • E-ISSN2713-9964

프로키노 영사회 관람공간의 성격과 <연돌실 페로(煙突室ペロー)>

The nature of space in Prokino’s screenings and <Entotsusitsu Pero>

대중서사연구 / 대중서사연구, (P)1738-3188; (E)2713-9964
2013, v.0 no.29, pp.231-259
https://doi.org/10.18856/jpn.2013..29.008
정충실 (東京大學)

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

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