카프의 테크놀로지와 영화라는 미디어-카프 기술부 설치의 의미망-

초록

This article focuses on the establishment of the KAPF’s Technical Department in 1930 as a pivotal event aimed at reconstructing the center of KAPF during the colonial period. More specifically, it examines the dynamics of capital, technology, and movement within the debates KAPF on cinema as a medium, set against the broader icontext of socialist intellectuals’ discussions on modern machine civilization. Figures such as Yun Gi-jeong and Han Seol-ya criticized Shim Hun’s When the Dawn Breaks for being excessively conscious of censorship, emphasizing movement. Their perspective stemmed from an awareness of the need to engage with the masses; however, in focusing on movement, they overlooked the reality of colonial capitalism. As shown in Shim Hun’s critique, which concentrated on the economic and technological issues of colonial Joseon, KAPF failed to integrate an understanding ofcapitalism’s economic and technological systems with the notion of movement as the foundation for cinema. Nonetheless, discussions on machine civilization were actively unfolding both within and beyond of the KAPF. In particular, ≪Joseon Munye≫, founded by the KAPF Gyeongseong Branch in 1929, demonstrated a strong focus on modern machine civilization and speed. Alongsidethe Tokyo Branch’s emphasis on movement, it contributed to the another context surrounding the establishment of the KAPF Technical Department. The differences between the KAPF Tokyo and Gyeongseong branches also became evident in debates among filmmakers within KAPF. While the members of KAPF sought to dissolve the existing Film Department and unify it into the KAPF Film Department, KAPF filmmakers believed this approach was not suitable for the development of cinema. Despite these organizational disagreements, KAPF films and Na Un-gyu’s films shared similarities in narrative structure. The sense of tragedy arising from the realities of colonial Joseon intersected with both movement and commercialism, which can be found throughout the films. Ultimately, KAPF can be seen as a cultural organization shaped by a complex perspective on the state, capital, and technology inherent in the medium of cinema.

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