Formation and development of Korean film music: A Historical Analysis of the Evolution of Joseon Film Music (1897-1945)

The purpose of this study is to examine the emergence and development of Joseon film music in Korea from 1897 to 1945, and to reveal the characteristics and significance of film music history. The researcher divided the emergence and development of Korean cinema into four stages and summarized the characteristics of each period as follows: First, in the era of motion pictures, music based on Western scores allowed Joseon audiences to experience Western culture, but it lacked creativity and identity. In the era of serial dramas, there were attempts to reflect Joseon sentiments by coexisting with Japanese enka and traditional Joseon music. In the era of silent films, original music by Joseon composers was used, highlighting national identity, and popular influence expanded with the spread of phonographs and records. In the era of sound films, film music became a key element along with technological advancements, but due to Japanese censorship, it was transformed into a political propaganda tool, undermining autonomy and artistry. Through this study, the researcher confirmed that the identity, performance methods, and symbolic systems of film music varied according to the developmental stages of Korean cinema. In conclusion, Joseon film music formed and developed during the Japanese colonial period reflects the characteristics of its time. The film theme song <Arirang>, which expresses national resentment and anti-Japanese sentiment, the film theme song < Janghanmongga>, which directly transplant Japanese emotions, and film music used in state propaganda films such as <Song of Volunteers>, <Song of Sending Volunteers>, <Chosun Strait>, and < Japanese Boy> can be interpreted as songs that articulate the situation faced by colonial Korea during the Japanese occupation. This study focused on exploring how Korean film music has developed within the context of modern and contemporary history and art history. It specifically examined how this film music played a role in introducing and conveying new cultures amid the exchange between domestic and Western cultures and during the Japanese colonial period. The aim was to go beyond understanding domestic film music solely from a musical perspective and to identify its role within the significant contexts of modern and contemporary history and art history. Future research should continue to investigate the flow of film music in the post-liberation period after Korea’s liberation from Japanese colonial rule, as well as the role and characteristics of film music within the historical context following the establishment of the Republic of Korea.