本考는 1920年代 탄생한 ‘映畵小說’의 문학적 가치를 定立하고자 한다. 영화소설이라는 새로운 형식의 문학 양식이 등장함에 있어 그에 합당한 이유가 존재함에도 불구하고 그간 영화소설에 대한 연구는 未盡하였다. 이에 本考는 영화소설의 등장 배경에 대한 연구와 연계하여 영화소설을 어떻게 개념 정립할 것인가라는 문제의식을 연구 過程에 위치시켰다. 그 과정에서 ‘보는 讀者, 읽는 映畵’의 탄생에 대한 문화 수용 측면뿐만 아니라 영화와 소설의 결합이라는 상호텍스트성 등을 多角度에서 접근하고자 한다. 이를 증명해 내기 위해 最古의 영화소설인 沈熏의 『탈춤』과 함께 沈熏의 映畵 評論을 연구 대상으로 올려놓는다. 이러한 연구의 목적은 영화소설이 國文學史에서 논의될 場을 마련하는 동시에, 한국 문학사에서 영화소설의 올바른 자리매김을 위한 土臺를 마련하고자 하는 것에 있다.
To examine the possibility of a correct establishment of the ‘cinema novel’ in the literary history, this paper investigates the background of its advent, and tries to establish its concept verifying it with special reference to Sim, Hun’s Mask Dance(「탈춤」). Our concern has begun from the question of what value the cinema novel has in the history of Korean literature. To answer this question, we have carried out an investigation of the introduction of the movie as preliminary work in chapter 2.
Chapter 3 discusses the background of the advent of the cinema novel on the sides of (1) lack of scenarios, (2) security of funding for filming as a problem of economy, and (3) reflection of writer consciousness. Chapter 4 deals with the concept of the cinema novel along with the birth of ‘seeing reader and read movies’ in the network of three meanings; (1) the intertextuality between novels and movies, (2) texts that show contents while having the readers read them with the medium of letters, (3) texts created for the purpose of film presentation. Chapter 5 explores Sim, Hun’s Mask Dance(「탈춤」) as an example, which is created as a cinema novel and adapted into a scenario.
Though we have not explicated them in this paper, we cannot help recognizing the fact that there are several problems with the study of the cinema novel. First of all, we admit that more elaborate analyses are needed in categorizing the cinema novel. Second, there is the question of whether it is possible to assign the cinema novel meanings beyond its status as a means of creating movies. Of course, we have begun this study presupposing that it is possible, but there also remain some points in the case of Sim, Hun’s, where the cinema novel would be regarded as a transient genre derived tentatively in the course of acquisition of the movie. The argumentation of this problem requires more persuasive work. However, though we leave the persuasiveness of the argumentation as a theme of future research, there still are such remaining problems in the study as the unkind treatment of the cinema novel for its status as a kind of non-main stream literature, and the fact that the poor preservation of primary accessible data.
At any rate, this study devotes itself to the establishment of the cinema novel in order to survey the values that the cinema novel has in the literary history, escaping from the dogmatic perspective in the study of Korean literature. On the other hand, we suggest that systematic and sufficient investigations be carried out constantly for justified valuation of the cinema novel in future research.