1960년대 한국 음악영화에 나타난 신파성

Abstract

현재 음악영화는 음악을 통해 다양한 이야기 형식을 갖게 되었고 대중들의 사랑을 받으면서 영화장르로서 자리매김하고 있다. 그러나 음악영화에 대한 관심과 제작이 증가되고 있음에도 불구하고 현시점까지 음악영화에 대한 연구는 미비한 실정이다. 따라서 본 논문는 음악영화를 하나의 장르로서 정의하고, 한국 음악영화가 갖는 특성을 알아보고자한다. 그리고 어느 때보다 음악영화 제작이 활발하였던 1960년대를 중점으로 당시 음악영화에서 강하게 나타난 신파성을 통해 음악영화의 사회&#8228; 문화적 함의를 알아보고자 한다. 음악영화는 음악이 주요 소재이며 이야기 진행의 중심 혹은 중요한 역할을 담당한다. 한국 음악영화의 시초는 1936년 김상진의 <노래 조선>이다. 이 영화는 공연 실황을 담은 기록영화의 형태였다. 이후 <푸른 언덕>(유동일, 1949)을 시작으로 음악이 중심을 이루는 이야기 구조를 갖게 되었다. 음악영화가 제작될 수 있었던 요인은 바로 ‘신파’다. 신파는 연극에서 시작되었으나 극에만 머물지 않고 다양한 형태로 전이되었다. 특히, 여성관객들에게 호응을 받았던 음악극에 신파극이 결합되면서 ‘악극’이 형성되었다. 악극은 ‘노래하는 연극’으로 신파극의 서사구조와 함께 대중적인 트로트 음악과 즉석의 밴드반주가 결합된 형태이다. 이 악극은 영화제작이 활성화되었던 1950년대 후반에 음악영화가 제작되는 계기가 되었다. 1950년대 후반부터 음악영화의 제작은 꾸준히 증가하였고 1960년대에 와서는 다양하고 많은 음악영화들이 제작되기에 이른다. 음악영화의 제작이 증가될 수 있었던 요인은 한국전쟁 이후 서구 대중문화의 유입 때문이며, 그것을 모방하고자 했던 것으로부터 비롯되었다. 1950년대 후반의 음악영화들은 서구의 뮤지컬 영화를 모방한 형태였으며 남녀&#8228; 가족 간의 사랑이야기가 주된 소재였다. 하지만 1960년대에 와서는 서구의 밴드문화와 함께 꿈과 사랑을 그린 청춘영화, 음악가 또는 대중가수의 삶을 다룬 전기 음악영화, 대중가요의 이면사를 담은 기록영화 등 다양한 유형을 갖게 되었다. 그러나 1960년대 음악영화는 1950년대와 달리 신파성이 강하게 그려지기 시작한다. 이는 식민지시대와 한국전쟁, 강압적이고 억압적인 근대화 과정 등으로 초래된 이산과 가난으로 인해 고통스러웠던 한국인들의 실제 경험들이 신파성을 통해 재현될 수 있었기 때문이다. 신파는 오랫동안 영화를 비롯해 대중문화와 정치&#8228; 사회담론 등과 함께 결부되어 왔다. 악극의 정서적 기원은 신파에 두고 있으며 이 신파는 한국 전쟁 이후 멜로드라마와 결합되어졌다. 신파가 강하게 나타나는 신파 멜로드라마의 내러티브는 음악영화에 계승되었고, 이에 따라 음악영화에서는 자연스럽게 신파성이 등장하게 된 것이다. 1960년대 음악영화에 나타난 신파성은 크게 두 가지 측면으로 나누어진다. 하나는 근대화&#8228; 도시화에 대한 환상과 집단적 박탈의식이며, 다른 하나는 근대화&#8228; 도시화의 과정에서 나타난 개인의 소외이다. 음악영화의 등장인물들은 서구적인 모더니티에 대한 환상과 그러지 못한 현실 사이에서 집단적 박탈의식을 보여주고 있다. 그들은 서구의 생활·소비문화에 대한 강박증을 보이며 더불어 전통의 단절과 함께 무차별적으로 서구문물을 수용하는 모습을 보여준다. 이러한 환상을 부여 잡기위한 몸부림은 결국 그들을 물질만능주의와 신분상승주의에 사로잡힌 인간으로 탈바꿈하기에 이른다. 환상은 실존하지 않는 것이므로 그것이 증폭되어질수록 현실과의 괴리는 더욱 깊어진다. 그리고 마침내 환상이 깨졌을 때, 등장인물들은 현실의 비참함을 더욱 강하게 느끼게 되고 그 안에서 개인적인 소외를 당하게 된다. 이처럼 음악영화의 인물들이 모두 근대화 편입에 성공한 것은 아니다. 근대화는 한국전쟁의 상흔이 아물지 않은 상태에서 이행되었다. 때문에 영화에서는 전쟁이라는 사회적인 요인으로 인해 생긴 고아와 기아 그리고 미혼모와 같은 가정이 붕괴된 모습을 그린다. 그리고 근대화 과정에서 생계유지를 위해 여성들은 가장으로서 노동시장에 진입하게 된다. 하지만 정작 그녀들이 안정을 기했을 때에는 다시금 남성 중심의 가부장제 가정으로 편입되는 모순을 볼 수 있다. 본 논문에서는 신파성을 통해 한국적인 음악영화가 갖는 특성을 알아보고자 한다. 특히 음악영화에서는 1960년대 근대화 과정에 나타난 모순과 갈등을 신파적으로 재현하고 있는데, 여기서 드러나는 신파성이 갖는 사회&#8228; 문화적 함의를 살펴보고자 한다. |Today music film has a variety of story structures through music and enjoys great popularity, settling down as a new film genre. Despite the obvious increase of music film, however, there have been poor researches on it. Thus this study set out to define music film as a genre and investigate the characteristics of Korean music film. It also aimed to find its social and cultural implications with the Shinpasung that was strong in the music films of the 1960s when their production was more active than any other periods. In a music film, music is the main material and the center of the film. The very first music film of Korea was Songs of Joseon by Kim Sang-jin in 1936. The move was a documentary film containing the actual scenes of a show. It was The Green Hill(Yu Dong-il, 1949) that first presented a music-centric story structure. The very principal factor that enabled the production of music films in Korea was "Shinpa," which originated in plays and transferred to other areas in various formats. When a music drama, which appealed to the female audience, was added to a Shinpa drama, a "music drama" was born. Literally meaning a "play with songs," a music drama presented a combination of the narrative structure of a Shinpa drama, popular trot songs, and band accompaniments on the stage. It was a precursor of music films made in the late 1950s when film productions were active. The productions of music films continuously grew in the late 1950s, and their diversity and sheer numbers were remarkable in the 1960s. In Korea, music films were produced thanks to the introduction of the western popular culture after the Korean War and to the desire of Korean people to mimic it. The music films of the late 1950s copied the format of the western musical films and usually described love stories among couples and family. Entering the 1960s, however, they burst out in format diversity as youth movies about the western band culture, dreams and love, biographic music films of musicians or pop singers, and documentary films about the different sides of popular songs were created. The music films of the 1960s were also different from those of the 1950s for their strong Shinpasung since the painful experiences the Koreans had with separation and poverty derived from the colonial period, Korean War, and suppressive and forced modernization process could be reproduced through the Shinpasung. Shinpa had long been associated with the popular culture including film and political and social discourse. The emotional origin of music play lies in Shinpa, which was incorporated into Korean melodramas after the Korean War. The narrative of Shinpa melodramas where Shinpa was powerfully present was inherited in music film, which is why music film naturally contained the Shinpasung. The Shinpasung in the music films of the 1960s can be approached in two aspects; one is the fantasy about modernization and urbanization and the collective sense of deprivation, and the other is individual alienation in the modernization and urbanization process. The characters of music films show the collective sense of deprivation that tried to live the western fantasy. Exhibiting an obsession to the western life and consumption culture, they severed their ties with the traditions and blindly accepted the western civilization. Their struggles to grasp such a fantasy eventually turned them into individuals severely focused on material and social class. A fantasy does not actually exist. The more one longs for a fantasy, the more distant he or she becomes from the reality. When a fantasy is finally broken, the characters will experience the misery of reality more acutely and individual alienation. Thus it is apparent that all the characters of music films were not successfully included in modernization, which progressed with the still fresh wounds of the Korean War. That is why the films of those days the aspects of family breakup including orphans, starvation, and unmarried mothers that were the products of a social factor called war. In the modernization process, women were forced to enter the labor market as the heads of their families in order to make a living. When their lives became stable once again, however, they were put back in the male-dominated patriarchal family system. The study examined the characteristics of Korean music films through the Shinpasung and the social and cultural implications of the Shinpasung in the music films of the 1960s that reproduced the contradictions and conflicts in the modernization process in a Shinpa manner.; Today music film has a variety of story structures through music and enjoys great popularity, settling down as a new film genre. Despite the obvious increase of music film, however, there have been poor researches on it. Thus this study set out to define music film as a genre and investigate the characteristics of Korean music film. It also aimed to find its social and cultural implications with the Shinpasung that was strong in the music films of the 1960s when their production was more active than any other periods. In a music film, music is the main material and the center of the film. The very first music film of Korea was Songs of Joseon by Kim Sang-jin in 1936. The move was a documentary film containing the actual scenes of a show. It was The Green Hill(Yu Dong-il, 1949) that first presented a music-centric story structure. The very principal factor that enabled the production of music films in Korea was "Shinpa," which originated in plays and transferred to other areas in various formats. When a music drama, which appealed to the female audience, was added to a Shinpa drama, a "music drama" was born. Literally meaning a "play with songs," a music drama presented a combination of the narrative structure of a Shinpa drama, popular trot songs, and band accompaniments on the stage. It was a precursor of music films made in the late 1950s when film productions were active. The productions of music films continuously grew in the late 1950s, and their diversity and sheer numbers were remarkable in the 1960s. In Korea, music films were produced thanks to the introduction of the western popular culture after the Korean War and to the desire of Korean people to mimic it. The music films of the late 1950s copied the format of the western musical films and usually described love stories among couples and family. Entering the 1960s, however, they burst out in format diversity as youth movies about the western band culture, dreams and love, biographic music films of musicians or pop singers, and documentary films about the different sides of popular songs were created. The music films of the 1960s were also different from those of the 1950s for their strong Shinpasung since the painful experiences the Koreans had with separation and poverty derived from the colonial period, Korean War, and suppressive and forced modernization process could be reproduced through the Shinpasung. Shinpa had long been associated with the popular culture including film and political and social discourse. The emotional origin of music play lies in Shinpa, which was incorporated into Korean melodramas after the Korean War. The narrative of Shinpa melodramas where Shinpa was powerfully present was inherited in music film, which is why music film naturally contained the Shinpasung. The Shinpasung in the music films of the 1960s can be approached in two aspects