그런데 <반도의 봄>은 조선-일본-서구의 관계를 삼각 역학 관계로 바라본다. <반도의 봄>은 위 세 항을 영화의 예술성과 우수성의 차원에서 ‘조선<일본<유럽’의 삼각 역학 관계로 설정하고, 조선영화가 일본 제국이 제안한 영화신체제를 맞아 진보한 기술력과 합리적 제작 시스템을 전망할 수 있게 되었음을, 그 이를 토대로 유럽영화과 같이 예술적 우수성을 지닌 영화로 나아갈 수 있게 되었음을 역설한다. 그러나 <반도의 봄>의 삼각 역학 관계는 사회진화론적 논리와 일맥상통함으로써 일본 제국주의의 식민주의적 시각을 모방한 결과이기도 하다.Pro-Japanese films in the former half of 1940’s has been discussed as a bipartite relationship in the colonial power mechanics between ‘Chosun’ and ‘Japan’ up to date. It is because that pro~Japanese films were under the stream that Japan reorganized Chosun films ‘product system extensively with being plunged into war structure (from Chinese-Japanese War to Pacific War). However, Spring of Korean Peninsular made in 1941 raises a question about that the bipartite relationship between two countries is enough to explain pro-Japanese films. Spring of Korean Peninsular presents a new milestone of Chosun film at the turning point into New Film System in around 1940. This film shows concern about Chosun-films and interferes the 3rd member ‘the West’ in the network between Chosun and Japan.
Spring of Korean Peninsular named Japan as plenty of cultural source, otherwise Chosun making Chunhyang jeon as inferior to Japan in culture and economy. On the bipartite relationship between Chosun and Japan like above, Spring of Korean Peninsular is finding the way to overcome the difficulties of making the film Chunhyang jeon from New Film System proposed by Governor-General of Korea. Meanwhile, ‘the West’ as the 3rd member was brought in the bipartite relationship between Chosun and Japan by exposing the western films’ posters repeatedly in the film Spring of Korean Peninsular. The western films’ posters namely the 3rd member ‘the West’ works as eventual ideal and constructive coordinate of Chosun films meeting the turning point called New Film System.
But Spring of Korean Peninsular shows understanding of a tripartite relationship between Chosun, Japan and the West as three-cornered dynamics relation. Spring of Korean Peninsular establishes dynamics of three members as ‘Chosun<Japan<Europe’ in the level of artistic value and superiority, and emphasizes that Chosun films get prospect of advanced skill and reasonable product system with New Film System which Japan proposed, and it will take Chosun films to the superior artistic as like European films. However, three- cornered dynamics relation inherent in Spring of Korean Peninsular has resulted from imitating colonial perspectives of Japanese Imperialism.