한반도 분단체제 확립 시기에 나타난 남북한 전쟁영화의 가족 드라마- 1966년 북한 <최학신의 일가>와 남한 <군번없는 용사>를 중심으로 -
The family dramas of Korean civil war produced at the period of the establishment of korean Peninsula's divided regime - Focused on 1966' North Korean Film <The family of Choi, Hakshin>and South Korean Film <A military hero without serial number> -
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The nationalism discourse about South and North Korea’s ruling is not for the unification of two governments but for maintaining each of them by reproducing the divided governments. The film industry of each government went through many changes influenced by a variety of external factors, especially by the political ideology. The war movies at that time also contributed to maintaining two different governments by supporting the state of being divided with confrontation and separation. This study was aimed to investigate the discourse on governing and social intention of films produced just before the establishment of the dictatorship of each regime. The films started with the minimum social concept of family where the members were conflicted because of individual freedom and its counterpart, family duty, which eventually led to a metaphor for the extended society. These movies about family history and public voice showed how family members were dissolved, and at the same time paradoxically discoursed why our people couldn’t completely be separated. It symbolized that we would never be separated although superficially separated. These movies ended with the method of returning firmly to the traditional ideas of family. They suggested that we need a new family leader and members which are fit to a new social regime. But the family reunion and harmony, and the construction of new society full of hope are not happiness itself. It's bacause of the sad ending of losing half of our family, our brothers. Despite their stories about the family reunion and the solution of our nation's division problems, they reveal the reality that our way to unification wouldn't be easy due to the nationalism ideology. Finally these movies support the practical system of now and here, punctuated at the discourse for human relation principles and ontology.
Abstract
The nationalism discourse about South and North Korea’s ruling is not for the unification of two governments but for maintaining each of them by reproducing the divided governments. The film industry of each government went through many changes influenced by a variety of external factors, especially by the political ideology. The war movies at that time also contributed to maintaining two different governments by supporting the state of being divided with confrontation and separation. This study was aimed to investigate the discourse on governing and social intention of films produced just before the establishment of the dictatorship of each regime. The films started with the minimum social concept of family where the members were conflicted because of individual freedom and its counterpart, family duty, which eventually led to a metaphor for the extended society. These movies about family history and public voice showed how family members were dissolved, and at the same time paradoxically discoursed why our people couldn’t completely be separated. It symbolized that we would never be separated although superficially separated. These movies ended with the method of returning firmly to the traditional ideas of family. They suggested that we need a new family leader and members which are fit to a new social regime. But the family reunion and harmony, and the construction of new society full of hope are not happiness itself. It's bacause of the sad ending of losing half of our family, our brothers. Despite their stories about the family reunion and the solution of our nation's division problems, they reveal the reality that our way to unification wouldn't be easy due to the nationalism ideology. Finally these movies support the practical system of now and here, punctuated at the discourse for human relation principles and ontology.