초록 열기/닫기 버튼
한국 영화사 초창기에 영화화 됐던 4편의 고소설, <춘향전>, <장화홍련전>, <운영전>, <심청전>을 중심으로 그 영화화 양상과 근거를 살펴보면, <춘향전>은 춘향의 정조에 초점을 맞춰 수난당하는 춘향을 강조함으로써 누구나 상대역이 될 수 있지만 자신에게만은 정절을 지키는 ‘열녀기생’의 이미지를 형상화 했으며, <장화홍련전>은 ‘가정비극’이란 표제에 맞게 행복한 결말을 보이는 소설과 달리 계모의 흉계로 인한 죽음과 장화의 신원이 중요하게 다루어졌다. <운영전>은 원작과는 다르게 뒷부분에서 운영과 김진사의 ‘사랑의 도피’를 다루어 결국은 동반 음독자결하는 것으로 끝을 맺었다. 앞서 개봉한 강명화의 자살사건을 다룬 <비련의 곡>을 따라 사랑의 도피와 동반 음독자살이라는 당시의 연애풍조를 수용한 것이다. <심청전>은 제물로 인당수에 빠지는 심청의 모습을 절정으로 앞뒤에 여러 시퀀스를 배치하여 ‘가정비극’이라는 표제에 맞게 고난과 죽음의 비극성을 강조했다. 초창기 영화사인 1923～25년 고소설이 이렇게 대거 영화화 될 수 있었던 것은 무엇보다도 고소설이 지니고 있는 내러티브가 비참하거나 어려운 처지의 주인공이 이를 극적으로 극복하고 행복한 결말을 맞이한다는 ‘대중서사’ 방식으로 영화의 문맥에 잘 들어맞기 때문이다. 이는 필사본이나 방각본과 같은 전대의 고소설이기보다 1910년대 이래로 널리 읽혔고 당시 대중들에게 익숙한 활자본 고소설의 내러티브가 영화로 수용된 것이다. 작품의 내용면에서 뿐만 아니라 텍스트 수용의 측면에서도 고소설과 영화는 친연성을 지니고 있다. 무성영화 시대에 변사는 영화를 이끌어가는 가장 중요한 기제였다. 그래서 각 극장마다 유명변사를 모셔가려는 경쟁이 치열했다. 그런데 변사의 구성진 해설은 전시대 고소설을 읽어주던 이야기꾼, 곧 전기수(傳奇叟)의 방식과도 유사하다. 무성영화 시대의 텍스트 수용 방식은 고소설과 마찬가지로 낭독 혹은 해설을 통한 수용이었고, 이런 동일한 방식 때문에 초기 영화사에서 많은 고소설이 자연스럽게 영화화될 수 있었던 것이다.
The paper examines the aspects of filmed classical novels and the reasons they were preferred as original works in the early history of Korean movie(1923-1925). It covers Choon hyang Jeon, Jang wha Hong ryeon Jeon, Oon yung Jeon, and Sim chung Jeon. The early movie Choon hyang Jeon emphasized Choon hyang's fidelity and her ordeal caused by her conflicting positions. One was her inferior social status as Gee sang, dancing girl, who was available to a powerful magistrate, and the other was her adhesion to being faithful to a young scholar, Yi Mong ryong. As a result, the movie could feature 'the faithfulness of the dancing girl' effectively. The novel Jang wha Hong ryeon Jeon closed with a happy ending in which Jang wha and her younger sister Hong ryeon led a happy life after their rebirth though their former lives were full of pains and ordeals. Unlike the original, the movie Jang wha Hong ryen Jeon focused on the generic features of 'domestic tragedy', so that the movie underlined stepmother's evil scheme and daughter Jang wha's resentment and revengement. The movie Oon yung Jeon had a different ending from the original. In the latter part of the movie Oon yung, a palace maid, and a young scholar Kim Chinsa made an elopement and committed suicide by drinking poisonous liquid together. These episodes are supposed to reflect the love trend at the time. This trend of elopement and poison drinking was triggered by the earlier released movie 'Song of Love Tragedy' which covered the real suicide incident of Gee saeng Kang Myung wha. The movie Sim chung Jeon climaxed when Sim chung plunged in the In dang Waters as a sacrifice. Other sequences were arranged before and after this critical scene purposefully. For example, the episode of Sim chung becoming Emperor after her rebirth was presented not by chronological sequence, but by picture technique flashback. As a result, the movie could effectively highlight the tragedy of Sim chung's sufferings and death, which accorded its generic features of domestic tragedy. The reason so many classical novels were filmed in the early movie was above all the characteristics of narrative of classical novel. Its narrative dealt with main character's misery and difficulties, their overcoming of these ordeals with the help of some other character, and a happy ending. This popular narrative satisfied the demand of the movie. What is noteworthy is the filmed novel derived not from the earlier handwritten version or engraved version, but rather from the printed version. The narrative of printed version was popular since 1910 and people were more familiar with this kind of version. That's why the printed version could mostly be adopted as an original of film. Moreover, the classical novel and the early movie had an affinity in the receptive way of text as well as the content of text. In the period of a silent movie, a film interpreter was the most important film device and he led the whole movie. Therefore, many theaters fiercely competed for the best film interpreter at the time. What is interesting is that the melodious movie explanation by the film interpreter was very similar to the story telling of Chun gi soo(傳奇叟), story-teller of classical novel, in the preceding period. The text in the period of the silent movie was received in the way of recital or interpretation like the classical novel. Due to this similar way of reception, classical novels could naturally be chosen as original works in the early movie history.
키워드열기/닫기 버튼
new school, tragedy of love, domestic tragedy, narrative, popular narrative, film interpreter, story-teller
