‘포르노-폴리틱 카메라’와 표상의 양가성: 오시마 나기사 다큐멘터리의 한국인․자이니치 표상

Abstract

Oshima Nagisa's films in the 1960's are filled with anger, accusations, and multi-layered investigations of Japanese society's repressed revolutionary and twisted criminality in the post-war. The interesting point is that the representation of Korean․Zainichi is actively addressed in view of the internal issues of Japanese society. This is not only a simile but also a metonymy throughout his entire filmography. It is particularly noteworthy as one of the characteristics of Oshima’s style and as one of the important themes of his work. In this context, I examine three early documentary films of Oshima. Then I compare and analyze Oshima Nagisa's visit to South Korea and his critical writings with visual representation in his films and narrative voice. From a discursive perspective, Oshima urges the Japanese government to reflect on the historical facts of the past, urging them to respond to the political conscience and raising the possibility of “revolution”. On the other hand, on the non-discursive layer, Oshima is mistakenly interpreted as a face-to-face" with a pornographic stare, and it is divided into an ethical aspect and an aesthetic aspect. In this way, I refer to Oshima’s style, which shows the importance of supervising the two levels of supervision, as “porno-political camera”. Through this concept, I attempt to analyze the double and contradictory views of other symbols embodied in the “Sharing of Anger” and “Exhibitions of Anger”.