영화감독 심훈의 영화예술에 대한 인식 고찰 = A Study on Film Director Shimhoon’s Perception of Film Art

다국어 초록 (Multilingual Abstract)

There are various subjects that make up the artist Shimhoon. He has performed artistic activities in various fields such as poet, novelist, (literary) reporter, broadcaster, and film director. In this article, I looked at Shimhoon’s aspects as a filmmaker (film director). Shimhoon confessed that he lived with a dream of film production as a film director, and he was a filmmaker who did not give up his desire to make films even while creating poetry and novels. As film director Shimhoon deepened his understanding of comprehensive art and film art, which is a collection of modern capital and technology, despair he experienced in the reality of film production in colonial Joseon inevitably deepened. The perception of the limitations of national capital and its despair eventually became a driving force for Shimhoon to further strengthen his resistance to the reality of colonial Joseon. This is why it is detected in Shimhoon’s poems and novels.
On the other hand, Shimhoon’s understanding of film art and the nature of film aesthetics he wanted to produce are based on the contents of German early expressionist films and French impressionist film aesthetics. However, Shimhoon’s learning and understanding of the aesthetics of expression in film art came from the perspective of a film director, not a writer or film critic. In this paper, Shimhoon’s article, which expressed the value of the German film The Last Laugh(1924), was analyzed to confirm the perception of the expression aesthetics of film art and to examine the nature and meaning of his scenario Daegyeongseong Rhapsody(1928). Daegyeongseong Rhapsody corresponds to the result of cinematic imagination that transcends the level of film production technology of the time. This is because it was written in the imagination of a future complete with a ‘technical level’ that can maximize the autonomy of film art. However, the imagination and language are different from the ‘literary imagination’ in that they are established under complete conditions of ‘technology’ for filmization. As a result, it can be confirmed that Shimhoon’s perception of film art and his film language were built on the basis of his perception of capital-(science) technology that supports the aesthetics of expression in movies.