Discourse on Joseon cinema I (Chunchu 2, no. 11, November 1941) Im Hwa

Abstract

In Discussing Joseon cinema, it is first necessary, though most ordinary, to consider the circumstances of the formation of Joseon cinema. No doubt Joseon cinema is a kind of Joseon’s modern culture in a comprehensive sense as well as an object originating from the formation of Joseon’s modern culture. This is the most self-evident fact for which there is no room for reconsideration. However, it is necessary to reflect upon the circumstances of Joseon cinema’s formation at the moment, because in any event, it is easy to regard film with bias. Needless to say, there are certain reasons for anybody speaking of film, whether it be a person directly involved with film or an unrelated third party, to be captivated by the bias to specify it as a particular form of art. This is because film is undoubtedly a distinctive form of art. In the history of other culture and art of all mankind, which have long traditions of thousands of years, it may be utterly inconceivable to think of the history of film, when it has less than half a century of tradition. It may be hard to imagine that a culture or art that has been formed in less than half a century may have a form and meaning of its own. Nonetheless, it is an undeniable fact that film is a culture and art of today. If this admirable contemporaneity is one reason to conceive film with a particular bias, another reason would be, let’s say, its commercial nature. At any rate, this other reason for fostering a temptation to isolate the history of film from that of the rest of the other culture and art seems to be found in its commercial nature and particular process of filmmaking. Though I know not enough to inquire further into this matter, I at least know there will no longer be a reason for film to be received with bias and regarded in isolation, considering the solemn fact that Joseon cinema is a culture based on Joseon people’s modern life upon which it has formed as an art form. I know it even without inquiring into every case of how film, from its invention to this day, has formed relationships with literature, visual arts, theater, and music. Besides, self-righteously thinking or arbitrarily judging the future and course of Joseon cinema would be an irresponsible manner of reasoning. Film may be considered to yield pleasure or even sheer amusement at times, but this is not a feature unique to film alone. Literature, theater, and music could also be the object of pleasure and hobby under certain circumstances; moreover, all forms of art amuse people to some degree. Therefore, to hastily regard film alone to be an amusement would be taking the trouble of disparaging film, or making an unreasonable attempt at isolating it from culture and art in general. Regarding solely film as amusement is a tendency that is mostly supported by or originated from film industrialists. But a genuine and healthy spirit of film culture would be one that safeguards the essential principles of art culture