초록 열기/닫기 버튼
This article examines the mechanism of the gaze in which Korean audiences were arranged by investigating propaganda films and film propaganda activities of the U.S. Information Service in Korea (USIS) after its establishment of the film studio system during the Korean War. It is to define how the strategy of visualizing the invisible, which is a way of wielding power as well as a route to make the power itself visible, was operated in South Korea by the U.S. public information agencies during the early stage of the Cold War in comparison to the colonial period. The Korean War brought a big improvement in techniques and technologies of filmmaking in South Korea, and the USIS could establish its own film studio to complete a stable production system for newsreels and cultural films. In this condition, the films of the USIS Liberty Production sometimes revealed its superior position to gaze and visualize invisible information of South Korea, mediated the self-gazing of Korean audiences who were to gaze at themselves as a process of subjectivation, and brought the genderized objects of the gaze and the protestant landscape of the World in front of the audiences. The USIS camera, which was arranged as the power of gaze that recognized the peculiarity of a ‘traditional culture,’ even produced the cultural hierarchy among “Free Asian” countries by recording and representing the Korean goodwill mission event toward Southeast Asia in 1958. Such a mechanism of the gaze was a technology of government for America to lead the new world order by visualizing the postcolonial Asian region.
키워드열기/닫기 버튼
U.S. Information Service (USIS), Liberty News, Cold War, Asia, Film Propaganda, Gaze, Governmentality
