강제징용에 대한 한일의 기억의 교환 (불)가능성: 영화, <군함도>, <기록작가 하야시 에이다이의 저항抗い 記録作家 林えいだい>의 ‘텍스트의 도박’과 ‘대항 아카이브’를 중심으로

Abstract

This paper, firstly, examines the possibilities and limitations of the way the movie <Battleship Island> (Ryoo Seung-wan, 2017) approaches the issue of forced labor in the present where historical revisionism on forced mobilization still persists. In spite of various controversies, I will discuss that the film depicts ‘the fantasy of the victims’ through excessive representation in which the failure of the victims in actual history was switched into the successful escape of the Korean forced laborers. In this article, I will analyze these characteristics of film through Pierre Legendre’s concept of ‘The gamble of text’. ‘The gamble of text’ lies between ‘writing a myth’ and ‘recording the facts as it is’, denying a closed ending that guarantees a unified point of time, necessity, and totality of history. It is said to be the driving force that creates history’s disquite through interaction with reality. The movie <Battleship Island> is encouraging in that it presents the victim’s fantasy, but it is confined to the frame of the nation-state. If forced mobilization is a problem that must be solved through communication between Korea and Japan, then there is an urgent need for memory description that can be exchanged across the border between Korea and Japan. Therefore, I would like to present the documentary <Resistance - The Old Writer Hayashi Eidai> (Nishizima Shinji, 2017), as an alternative. The film forms a “counter-archive” in which it reveals the facts and truths about the Korean victims of colonialism that Japanese official history has ignored. In addition, this documentary is characterized by dialectically reinterpreting, transforming, and rearranging different contexts through techniques such as ‘arrangement’ and ‘montage’, which are the existing discussions on archives. Through this, the film shows that Japanese are active agents of victims of forced labor by Koreans, and furthermore, by making victims of Japanese coal mine workers appear superimposed with Koreans after the war, it is a ‘gamble of history’ that shows that each other’s experiences and memories can be exchanged. Therefore, this article examines how the ‘counter-archive’ of ‘archive documentary’ creates the possibility of memory which crosses the border between Korea and Japan, by discarding the historical memory formed in the dichotomy of perpetrator and victim by nation-state.