영화 <지슬>이 재구성하는 양민학살론의 성격과 의미

Abstract

This study examined the specific process in which <Jiseul>, a film exclusively organizes the massacre of innocent people theory, from spatial, film narrative and thematic conscious perspectives. At first, this film suggests the existing method to dominate spaces and a new spatial frame for reorganizing it. Not only the communist-led rebellion theory, a dominant way of recollection, but also the popular uprising theory, a resistant way of recollection is based on extremely spatial and ideological split. The film represents and emphasizes a cave as the differential space, in order to overcome such dualistic spatial split. <Jiseul> which deletes Mt, Halla and the posse for the massacre of innocent people theory reorganizes the spatial split, 5km inside ↔ outside coastline into 5km inside coastline ↔ the cave. The spatial reorganization tried by <Jiseul> is associated with the aspect of redefining the personality of characters appearing in two spaces. In the cave, some of villagers are not allowed to participate in rituals, while some of members in a punitive force acquire the right to participate in them. In addition, the film actively expresses wishes of the subjects of rituals, victims' bereaved families, by providing the way of recollection which reorganizes the relationship between spaces and characters, through images. <Jiseul> which tries to directly resolve troubles of the massacre of innocent people theory, such as deletion and ignorance of Mt, Halla and the posse, overcomes and reorganizes spatial/ideological dichotomy to which the massacre of innocent people theory is likely to return, if things go wrong, while suggesting the objectives of reconciliation and peace and its prerequisites to the face of the parties concerned, who should achieve them.