张东天 韩国高丽大学
Zang, Dongtian, Korea University
原文Original
在对方拍摄的镜头里找回自我——韩中电影文化交流史初探
韩国和中国电影文化的发展都与现代化进程有着密切的关系。特别是在重组东亚文化圈的文化网络使之进入现代化形态的进程中，电影的贡献是绝对的。众所周知，韩国(朝鲜半岛)和中国在接受现代文化，艰难地创造出民族电影时，都处于殖民或半殖民统治的社会形态中。在这一时期，韩中两国以新的视角对待已有的传统文化关系且开始形成新的文化交流，也就是说，韩中电影文化的交流始于因不稳定的社会世态形成的民族危机中。由于1937年日本的全面挑战，以及1949年以后韩中关系的断绝，电影文化交流也呈现出完全不同的样式。本文将大陆改革开放之前的韩中电影文化交流分成三个阶段来考察其特征。
第一个阶段是1949年前。19世纪20年代后半期，韩国人开始在上海电影界活动。同时，中国剧场开始上映朝鲜人制作的电影，韩国剧场也开始上映中国电影。可是，1937年中日战争爆发之后，情况大有变化，韩国剧场放映的中国电影局限为东北沦陷地（即“伪满”）而不是上海的制作。第二个阶段是1949年到改革开放之前以大陆为背景的电影时期。朝鲜半岛分裂以后，南韩和中国大陆之间没有直接的交流，双方的电影中也不断出现歪曲对方的形象。反之，对朝鲜半岛的积极认知却在与北韩（北朝鲜）的电影交流上出现。第三个阶段是同一时期的韩国与香港、台湾的电影交流。随着三地电影的产业化，他们的共同制作更加活跃。大约1957年开始制作的一些电影在“韩中合作”的旗帜下，成为20多年来亚洲青年文化的一道靓丽风景。
进入21世纪，韩中两国在电影文化方面正在进行前所未有的密切交流，合作的方式也逐渐多样化。但是，今日的空前盛况来源于过去曾经有过的诸多交流的历史，这一事实并不为大多数人所知。而使历史痕迹明晰，对未来会有很大的价值。本稿是笔者对民国时期中国的国际文化交流研究的延续，因此，本文不涉及电影作品本身的问题，而是主要探讨两国电影史上的相互交流进程及其文化特征。
译文Translation
Finding Oneself in the Lens of the Other: A Short History of the Korean-Chinese Cultural Exchange in the Area of Movies
The development of the movie culture in Korea and China has close connections to the modernization in these countries. Especially in the process of re-organizing and modernizing the cultural network of eastern Asia the contribution of movies was very important. As everyone knows, in the period when Korea (the Korean peninsula) and China accepted modern culture and made the first arduous efforts to create a national movie culture, the societies of both countries were affected by colonialism or semi-colonialism. In this period, Korea and China embarked on a new approach to their traditional cultures and began to form new cultural exchanges. In other words, the beginnings of the exchange in the area of the movie culture happened in a period when there was social instability and an atmosphere of national crisis. Following the all-out attack of Japan in 1937 and the severing of relations between China and Korea in 1949, the exchanges in the field of the movie culture also took a totally new shape. This paper tries to explore the characteristics of the cultural exchanges in the movie culture of Korea and China before 1979 by dividing this history into three periods.
The first period ended 1949. In the late 1920s some Koreans were active in the movie circles of Shanghai. At the same time Chinese cinemas started to release films produced in Korea, and Korean cinemas began to show Chinese films. But when the Chinese-Japanese war broke out in 1937 the situation changed totally. The films shown in Korean cinemas were limited to the movies produced in the North-East of China (so-called “Manchukuo”), and movies from Shanghai were no longer admitted. The second period was the production of films in China Mainland from 1949 until before 1979. After the split of the Korean peninsula, there was not direct contact or exchange between South-Korea and China Mainland, and in the movies of both sides appeared continually passages which distorted the other side. On the other hand, a more positive understanding of the Korean peninsula appeared on the Chinese screen as a fruit of the cultural exchange with North Korea. The third period was the movie exchanges between Korea, Hong Kong, and Taiwan in the same period. Following the professionalization of movies in these three regions, their common productions were more frequent. Since around 1957 movies were produced under the flag of “Korean-Chinese cooperation”, and in the last 20 years they have became a marvelous highlight of the youth culture of Asia.
After entering the 21st century, Korea and China have started cultural exchange in the area of movies of unprecedented density, and the ways of cooperation became gradually quite manifold. However, most people do not know the fact that the climax of our day originates in the past history of this cultural exchange, and to clarify these historical vestiges will be very of great value for the future. This paper is a continuation study of a research on the international cultural exchange during the Republican Period of China, thus the author does not actually discuss the movies themselves but rather the process and the characteristics of the mutual exchanges between the two countries in the field of the movie culture.