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초록

This article examines still photographs from the serial screenplay Hwaryun (1930), emphasizing its interplay between textual language and visual images. The still cuts are pivotal, interlocking the author, the text, and the reader; they illustrate dynamic cinematic creativity through the arrangement of visual elements. This paper delves into the underlying principles guiding narrative construction in Hwaryun, focusing on its spatiality, characterization, and genre attributes. Additionally, it reveals the aesthetic characteristics of each still and their connections to the socio-cultural context of that time. The significance of this article arises from its endeavor to dissect still imagery within colonial-era screenplays that remains relatively unexplored. Further research is necessary to provide a comprehensive perspective, requiring an investigation of primary sources, including the stills and illustrations alongside individual texts.