정비석 소설의 영화화와 그 시대성

Abstract

이 글은 정비석 소설들 중에서 영화화된 작품들을 중심으로 매체전환의문제와 그 과정에서 드러나는 시대적 특이성을 살펴보고자 한다. 그의 소설은 총 16편이 영화화되었고 반복해서 만들어진 작품이 있기 때문에 정비석소설에 기반을 둔 작품은 총 22편이다. 정비석 소설이 영화화되는 특징은크게 두 가지로 분류될 수 있다. 첫째는 하나는 소설이 가진 시대성과 당시영화계의 신진인력이 만나 현대적 감각의 화제작을 만드는 경우이다. <자유부인>이 대표적인 예인데 그 외에도 <여성의 적>, <여성전선>, <유혹의 강> 등이 해당 작품들이다. 이 작품들은 거의 감독들의 데뷰작이거나초기작들이며 참신한 영상미학을 구축해서 현대 감각에 조응하는 멜로드라마의 서사를 만들었다. 두 번째는 당시 유행하던 장르 영화에 대한 편승으로 제작된 경우이다. 이 경우 소설의 다양한 시대배경은 제작되었던 시기와유사하게 조정되며 원작의 변용과정에서 당시에 유행하던 멜로드라마나 신파영화의 특징이 삽입된다. 1966년 <산유화>가 두 주인공의 자살로 결말짓는 것은 대표적인 변형사례이다.

This article observes the nature of medium transition and the specificity of the time revealed in the process of the transition centering around the films based on Cheong,Bi-seok fiction works. 16 of his novels had been adapted to films and some of his works were remade several times. Thus the films based on his novels are 22 in total. The characteristics of the filmic adaptation of Chung’s novels can be classified into two. The first case is the controversial film in modern sense created by the trend of the period which his novels hold along with the new generation of the Korean motion picture field at that time. Madame Freedom is the prototype. The Enemy of Woman, A woman’s War, The River of Temptation and A Sad Pastorale would be included in this category. Most of these works were for a director’s debut or their early works. The second case is the film followed the popular genre movies in that period. This tends to be divided again into the details:the first was for producing a conventional melodrama, and the second was for the case chosen to make the work of the Sinpatrend. In these cases, the various backgrounds of the novels were adjusted into the similar period when the films were produced and characteristics of the popular melodramas and Sinpa films in those days were inserted. The ending with the suicide of the two main characters of 1966’s Wild Flower is the typical example of the variation. This article especially focuses on narrator's problem produced in the process of filmic adaption of novel and the relevance between gender issues and the changes of contemporary society and culture caused from the disputable works with modern sense. In the case of Madame Freedom, narrator’s presence prevalent in the novel was deleted. Therefore audiences would have more freely interpreted the work and had more generous attitude to the conduct, the desire and spending habits of a female antagonist, Oh Sun-young. In addition, the discussion on suggestive nature induced by films based on Chung’s novels raised generational conflicts on the tolerance for free love and sexual depictions that were very sensitive issues in those days.