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영어

Stenka Razin is a person who led the peasant’s uprising in 17th century Russia. His story was sung among Russians for a long time, and coming into the modern era it started to spread throughout the East Sea Rim region. There has been two media for this Stenka Razin narrative: one was an auditory media, the songs, and the other was a visual media, which was the movies. In Russia, the song was sung first and then they turned into a movie, but in the East Sea Rim region the order was reversed, because in the region at the time silent film was establishing itself as a new form of popular culture. But there is a distinct difference between the narratives carried by these two media. There is the death of a Persian prince inside the Stenka Razin tale. In the song of that was popular in Korea roughly 30 years ago, mentions of this Persian princess' death are missing. But in the original folklore and folk songs of Russia, this princess' death is included. The poem of Sadvnicov which was used in the background music of the 1908 movie served as the template of the popular song that circulated in Korea and Japan. Among the three movies mentioned above the one distributed in the East Sea Rim region was the 1928 movie . According to the synopsis and the voice recording of speaker(弁士), unlike other incarnations in which the princess is just thrown into the river, Stenka Razin “kills and throws” the princess himself in the 1928 movie. The Persian princess falls in love with the leader of their abductors, Stenka Razin(which is a doubtful state of affairs considering the circumstances) and in the end was thrown into the river by Razin as well. The Korean press in the 1930s praised this story, calling it the ultimate romance(熱血 로맨스). The reason that an act of throwing a woman whom he loved into the river was praised as a romantic act, was because the princess was a existence brought the weakness of the Cossack resistance and also because she was conceived as the daughter of an enemy state. This narrative is by nature from an Imperialistic or state-based point of view, and it also had the element of ‘deceived by a girl (여자에 속아서).’ This narrative continues to exist even in the 2000s.