Transnational modernity, national identity, and South Korean melodrama (1945-1960s)

Unrestricted The Korean proto-melodramatic form, shinpa, derived from Japanese theatrical mode, developed into a major mode of popular theater, literature, and cinema duringthe colonial period. Since the colonial period shinpa or the shinpaesque has always been in (South) Korean modern popular culture, it has never been accepted as a legitimate cultural form and thus, was figured as a mere shadow of (South) Korean modernity.; In the first chapter I analyze Ch'oe In-kyu's two post-liberation films, which have long occupied the pantheon of South Korean national cinema, Viva Freedom (1946) and The Night before Independence (1949). In the analysis I deconstruct the binary opposition of the national and shinpaesque and demonstrate that the nationalist critique that the culture of shinpa is the detrimental remnant of colonialism which puts sacred nationalist missions in danger describes the problematic embedded in nationalist discourse itself.; In the second chapter I discuss the dynamics engaged between postwar South Korean melodrama and shinpa. South Korean postwar melodrama and shinpa interacted with each other in order to create images of modern female identity that questioned and challenged the patriarchal gender order of the period. I argue that through transnational cultural hybridizations melodrama and shinpa articulated modern gender identities excluded from the terrain of the national.; In the third chapter I discuss how the melodramatic mode of historical drama of the '60s was doubly engaged in the relation to narrative of nationalist discourse. '60's South Korean nationalism was primarily drawn to melodramatic rhetoric, deploying it as a discursive apparatus to mobilize the people for the state-initiated modernization project. Historical drama reproduced the rhetoric in its representation of history, but at the same time, by the excessive display of melodramatic sentiments, ruptured the narrative of nationalist discourse, especially its linear temporal structure engineered to move forward the future.; In the last chapter I explore how realism and modernism were discussed in South Korean film discourse of the '50s and '60s and the conventions of shinpa was positioned in the discourse. I address the ways in which film discourse posited the conventions of shinpa in order to legitimize realist and modernist modes of film.无限制 源自日本戏剧范式的韩国原型情节剧形式新派剧（shinpa），在日本殖民统治时期发展成为流行戏剧、文学与电影的主流形态。自殖民时期以来，新派剧或具有类新派剧特质的作品始终存在于（南）朝鲜现代流行文化之中，却从未被视作合法的文化形式，因而被视为（南）朝鲜现代性的虚无倒影。 第一章笔者将分析崔寅奎（Ch'oe In-kyu）的两部光复后电影——长期位列韩国民族电影殿堂的《自由万岁（Viva Freedom，1946）》与《独立前夜（The Night before Independence，1949）》。本章将解构民族叙事与类新派剧之间的二元对立，并论证：所谓“新派剧文化是殖民主义遗留的有害糟粕，会危及神圣的民族主义使命”这一民族主义批判，本身就内嵌于民族主义话语的矛盾之中。 第二章探讨战后韩国情节剧与新派剧之间的互动关系。战后韩国情节剧与新派剧相互作用，共同塑造了质疑并挑战当时父权性别秩序的现代女性身份形象。笔者认为，通过跨文化杂糅的路径，情节剧与新派剧共同构建了被民族叙事场域所排斥的现代性别身份。 第三章讨论20世纪60年代历史剧的情节剧范式，如何与民族主义话语的叙事形成双重关联。当时的韩国民族主义主要依托情节剧修辞，将其作为话语装置，为国家主导的现代化建设项目动员民众。历史剧在历史叙事中复刻了这一修辞，但与此同时，通过过度铺陈情节剧式情感，打破了民族主义话语的叙事逻辑——尤其是其旨在推动社会向前发展的线性时间叙事结构。 最后一章探究20世纪50至60年代韩国电影话语中现实主义与现代主义的讨论语境，以及新派剧创作范式在该话语中的定位。笔者将阐述电影话语如何通过确立新派剧的创作范式，为现实主义与现代主义电影形态的合法化提供依据。