CAJ | 학술논문

《光辉的乐土》和《黎明的华北》是“满映”在1937年制作的两部重要的“文化映画”。对这两部纪录短片进行更深一步的、细致入微的文本分析，可在还原“满映”的统治和侵略特性之外，揭示出作为统治者和侵略者的日伪政权在其镜头与画面之间若隐若现的意识形态及文化症候。事实上，通过《光辉的乐土》和《黎明的华北》这两部“文化映画”，“满映”不仅宣扬了日本人的“满洲观”和关东军的华北政策，而且在凝视乡村和显影都会的过程中，彰显出帝国主义的“大陆”幻象和殖民者的拓地心态；两者之间相互交织，相辅相成，恰恰从精神层面上映照出战争时期日伪“国策电影”所谓“日满一体”、“东亚和平”的虚伪性与虚弱感。
《광휘적악토》화《려명적화북》시“만영”재1937년제작적량부중요적“문화영화”。대저량부기록단편진행경심일보적、세치입미적문본분석，가재환원“만영”적통치화침략특성지외，게시출작위통치자화침략자적일위정권재기경두여화면지간약은약현적의식형태급문화증후。사실상，통과《광휘적악토》화《려명적화북》저량부“문화영화”，“만영”불부선양료일본인적“만주관”화관동군적화북정책，이차재응시향촌화현영도회적과정중，창현출제국주의적“대륙”환상화식민자적탁지심태；량자지간상호교직，상보상성，흡흡종정신층면상영조출전쟁시기일위“국책전영”소위“일만일체”、“동아화평”적허위성여허약감。
Glorious Happy Land and North China at Dawn are two important “Cultural Movies” made in 1937 by Manchou Film Association.An in-depth analysis of the two short documentaries reveals that Manchou Film Association had a part to play in Japan’ s “invasion” and “domination” of Manchuria.On the other hand, the analysis also brings to light ambiguous ideological and cultural symptoms of the Puppet Regime which was set up by the Japanese invaders and served as a tool of control and domination.The article argues that in these two movies, Manchou Film Association clearly preached the“Manchou concept” and advocated the poli-cies pursued by the Kwantung Army in North China.In addition, Manchou Film Association, with its manipu-lation of the imperial gaze at the rural Other and the representation of the cosmopolitan Self, helped to create an imperial “continental illusion” and thus collaborated in Japan’ s colonial domination and expansion.In the two movies, the perfect juxtaposition of the imperial gaze and self representation demonstrates exactly the hypocrisy and falsehood of such ideas as“Japan-Manchou as an united whole” and“peace in the east Asia” as advocated by the Japanese invaders in their“state policy movies”.