두 개의 ‘전후’, 두 가지 애도－‘전후’ 한국과 일본, 가난한 아이들의 일기를 둘러싼 해석들－

Abstract

This article considers the political and semantic contexts of the cultural appropriation in the translation of the diaries of disadvantaged children. YASUMOTO Sueko’s Nianchang (1958) and LEE Yoonbok’s Cry, The Sad Sky (1964)-two diaries from Japan and Korea-were translated and made into films that came to represent cultural markers for that period. The immediate translations and culturally appropriated language and media suggest that Korea and Japan shared a common historical interpretation. The diaries of the children showed their life to be miserable and showed their struggles for survival, while raising ethical social issues. The essence of social emotion-acts as a response to ethical issues can be seen as Trauerarbeit (mourning) for the ‘post-war experience.’ Japanese society’s response to a poor Zainichi Korean girl’s diary were Trauerarbeit, involving the rupture from post-war Japan as it entered high economic growth. In contrast, the Korean social response to a poor boy’s diary was an ambiguous mixture of Trauerarbeit, for its poor past, and compassion from general the perception of similar straits. In this regard, the cultural appropriation of Cry, The Sad Sky in Korea and Japan is worthy of notice. The film Cry, The Sad Sky (1965) could lead the Korean audience to expect the state-dominated ‘escape from poverty’, by highlighting the status of teacher KIM Dongsik as an ‘alternative farther=government.’ On the contrary, Oshima Nagisa’s radical documentary Yunbogi’s Diary (1965), which was motivated by his critique of the 1965 Treaty between Korea and Japan, had the expectation that these poor children would grow into subjects of resistance.