朴壽南映画の表現手法の特徴 —「아리랑(アリラン)のうた―オキナワからの証言」、「ぬちがふぅ(命 果報)―玉砕場からの証言」と「沖縄スパイ戦史」の比較を通して—

Abstract

In postwar Japan, the tide of memory recording regarding the Battle of Okinawa shifted from “the side of mainland (army)” to “the side of Okinawa resident,” which meant it became objectified. This process induced the surfacing of the memories of Korean military laborers and women forced into sexual slavery by the Japanese military, all of which had been buried under Japan’s war history. After the 90’s in the image-related field, there was an active movement for recording Korean’s memory of the Okinawa Battle and Park Soo-Nam, a second generation Korean-Japanese movie director, played a pioneering role. The purpose of this study is to understand the characteristics of Park Soo-Nam's methods of cinematic expression for the recording and presentation of the memory of the Okinawa Battle from the perspective of Koreans. The documentary methods used in three films on the theme of the Okinawa Battle were compared and analyzed. Of them were two documentary films directed by Park Soo-Nam-"Song of Arirang-voices from Okinawa" (1991), and "Nuchigafu-Life is a Treasure 'Gyokusai' Stories in the Battle of Okinawa" (2012). The third was the film "Boy soldiers: The Secret War in Okinawa" (2018) directed by Mikami Chie and Oya Hanayo. The study attempted to reveal that Park Soo-Nam, through the cinematic expression of her films, encouraged viewers to form their own perspectives of the Okinawa Battle as experienced by Koreans.