한국영상문화학회

This study aims to examine how Jeju Island has been perceived as a place with performativity from merely a physical place in the modern times, by comparative analysis of Chang Ree-souk’s paintings and Haenyeo images from Jeju tourist guidebooks and analyzing the tourist gaze on Jeju Island between the 1950s and the 1980s. It is said that Jeju Island is one of the areas whose cognitive space rapidly changed in the Korean of the 20th century, further resulting in great change in its symbolic images. One of the typical causes for such a rapid change would be tourism in addition to the economy of Jeju Island. In this light, this study examines the Joseon local color created by the tourist gaze of colonialism formed during the period of Japanese occupation, and looks into how much of the formal inertia of the icons remains in Jeju Island at present. As one typical case, this study analyzes Haenyeo images from the painting of Chang Ree-souk (1916- 2019), a Korean representative modern and contemporary artist of Western painting, and examines how this icon, which is usually formed through individual training, has conceptualized Jeju Island. Then, this study intends to look into how Haenyeo images, designed for Jeju Island tourist guidebooks since the late 1950s, are consumed by the tourists to Jeju Island. While analyzing how these two media have expressed the same materials, this study finds how the otherized colonial tourist gaze, which remains in Korea in modern times, has affected Jeju Island that needed to create and own its exotic scenery. At this point, the main purpose of this study is to discuss the kind of cognitive place Jeju Island has become under the influence of such a gaze.