Der Stellenwert der Kriegsfilme in der südkoreanischen Filmgeschichte und ihre filmische Darstellung – TAEGUKGI und THE FRONT LINE
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In this analysis the conflict films introduce such type of films, which highlight an issue of a country separation and associated relationship with North Korean nation as the main topic of film. The conflict film is developed as an independent film genre in the South Korean film history and has a close relationship with well-known political circumstances. The theme of “division” is until now one of the most active theme not only in cinematography, but also in reality of South Korea, because political status quo is still unchanged since the Korean War, even after 60 years. In particular the war films, in contrast to other film genres in cinematography, have over and over again treated this historical state of affairs most responsively and fairly. Firstly, in this analysis the meanings of the war film in the Korean film history are questioned from the historical and sociological perspective, which supported to uncover the reasons why this genre established itself as one of the most indispensable fields throughout of several decades by readdressing key thematic puzzles. Secondly, in this paper two example war films such as <TAEGUKGI> and <THE FRONT LINE> are chosen and analyzed from the perspective of how diversely the Korea War could be represented in terms of a main subject and visual expression. The core focus is on the theme, characters and places in both films. Thereby, it is also inspected how the features and the accompanying ways of expressions of the war film have been changed in above noted films.
Abstract
In this analysis the conflict films introduce such type of films, which highlight an issue of a country separation and associated relationship with North Korean nation as the main topic of film. The conflict film is developed as an independent film genre in the South Korean film history and has a close relationship with well-known political circumstances. The theme of “division” is until now one of the most active theme not only in cinematography, but also in reality of South Korea, because political status quo is still unchanged since the Korean War, even after 60 years. In particular the war films, in contrast to other film genres in cinematography, have over and over again treated this historical state of affairs most responsively and fairly. Firstly, in this analysis the meanings of the war film in the Korean film history are questioned from the historical and sociological perspective, which supported to uncover the reasons why this genre established itself as one of the most indispensable fields throughout of several decades by readdressing key thematic puzzles. Secondly, in this paper two example war films such as <TAEGUKGI> and <THE FRONT LINE> are chosen and analyzed from the perspective of how diversely the Korea War could be represented in terms of a main subject and visual expression. The core focus is on the theme, characters and places in both films. Thereby, it is also inspected how the features and the accompanying ways of expressions of the war film have been changed in above noted films.
참고문헌 (34)
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