한-아르메니아 문화교류 현황 및 문화사업 공동 진흥을 위한 제언

초록

Despite the fact that the year 2017 marks the 25th year of diplomatic relationship between Korea and Armenia, domestic awareness toward Armenia is still relatively low. The biggest reason may be that the nation existed as one of Russia’s satellite states for a long period of time, and this accounts for Korea’s lack of opportunity to experience Armenian culture. Even considering this fact, compared to other former Soviet-bloc countries, there has been insufficient level of exchange between the two countries. However, having survived numerous rises and falls amongst strong surrounding nations for a long time, both Korea and Armenia may share sentimental bond with similar geopolitical factors. Above all, it can be said that both nations have plenty of reasons to relate to each other after continuously trying to maintain their brilliant cultural heritage and spirit through constant suffering and ordeal caused by strong neighboring nations. In this context, this paper attempts to propose several propositions for further development of cultural industry in both countries and reflect past inadequate measures in their past intermittent efforts by examining the new Korea-Armenia collaboration, specifically, under the premise that the cultural value is the key to understanding the country. In addition, the writer highlights and describes the stories which are seemingly unrelated to systematically relate to one another based on the fact that Armenia is the first state to adopt Christianity as the state religion, the fact that Mt. Ararat which symbolizes the Armenian spirit can be connected to the biblical story of Noah’s Ark and the fact that Armenia is the birthplace of wine after the discovery of the world’s first winery. Moreover, because of its heavenly inherited nature and clean water, Armenia is the town of cognac, and Armenian cognac bears the history of diaspora hardship. The writer also suggests that Armenia’s painful history can be transformed to historical and cultural values for peace of mankind, as cognac may become the nation’s consolation as well as being the emblem for peace. Korean film professionals as well as Korean movie fans are likely to identify with the works of internationally acknowledged Armenian film directors such as Sergei Parajanov, Mikhail Vartanov, and Artavazd Peleshian. Koreans not only relate to the completed movies that convey the Armenians national and cultural values but also to the stories of hardship which can alternately become another theme for a new movie scenario. This paper also focuses on what Korean culture and art community should learn from Armenian artists. In order to do so, it introduces various Armenian works that symbolize historical and ideological turning point in Armenian genocide films, works of diaspora directors which deal with Armenian national identity, documentaries and experimental films with various image processing techniques. These kinds of efforts will definitely help to diversify domestic studies in criticizing the art works dealing with genocide or dispute material. Research on the contents combining regional studies and humanities with art will attribute to enhance the awareness and values for both Korean and Armenian movies while simultaneously establish educational materials satisfying both academic and popular aspects and interest for war and human rights. At this time when further understanding and consideration are needed for people and nations that experienced genocide, Korean art society foremost should look into the creative works and output of Armenians who ceaselessly produce films about the historic tragedy which occurred 100 years ago in order to achieve recognition among the international society. The moral force and future direction of Armenian artists can be seen in their effort to heal the national trauma and not forget the painful past through producing movies. A closer look into Armenian’s art will be a crucial experience for us who still live in a divided nation in disputed region with similar history. Furthermore, the writer is convinced that the film makers’ effort to produce ‘films that heal and remember’ the painful memory of genocide will provide a new model for both nations’ joint development of film industry.

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