기억의 산업화 기념의 정치화: 2000년대 이후 한국전쟁 재현 전쟁영화의 역사적 의미

Abstract

The aim of this study is to examine war films in South Korea which have represented Korean War since 2000s in terms of film genre history and its historical meaning on war memory. In addition, I will conceive the history of war film which reprensented Korean War as a repetition/recall or variations of Korean political and social history in macroscopic viewpoint. While the war films in the 1950s was the beginning of public memory on war by the state and was based in its reality, the ones in the 1960s was more deepened in public memory and was viewed as the emergence of film genericity. The public memory of war films in the 1970s has reached a boiling point and has made headway into the stage of national policy film. While “Korean division film” marked the beginning in the 1980s, the 1990s was the era of the breakup of public memory in the atmosphere of democratization in South Korea and the end of cold war, and the age in which war memory from below burst out in the form of critical realism. The war films in the 1950s and the 1990s was in accordance in the perspective of filmic reality, but the former could be regarded as a beginning of public memory and the latter could be considered as its dissolution. War films such as TaeGukGi: Brotherhood of War (2003) and Welcome To Dongmakgol (2005) in the 2000s remind war films in the 1960s in terms of genre rules in which memory itself was industrialized and commercialized. However, while the 1960s was the era of public memory as patriotism and anticommunism, the 2000s was the age of commercialism that annihilated even war memory from below, not to mention public memory of cold war age. Although these trends have continued since 2010s, 71: Into the Fire (2010) and Operation Chromite (2016) that were produced with the support of the conservative government were exceptional. These films restore public memory of cold war by recalling patriotism and anticommunism of national policy war film in the 1970s. As a result, in contrast to the war films since 2000 which industrialized and commercialized war memory, war films in the 2010s under the auspices of the conservative government politicized themselves by converting war memory into national commemoration.