만주활극의 영웅들 - 시대를 횡단하는 대중무의식

Abstract

In this paper, the Manchurian hero was examined through popular novels in the 30s and continental films in the 60s. The popular narrative of Manchuria in the 30s follow the ruling discourse of the romance of pioneering, eradication of barbarism and restoration of order, and the dream of paradise. This paper is based on Manchuria-related novels in the 30s, 'The short-haired beauty', 'For Love', 'The Manchurian Wilderness, the White Beauty', 'The Manchurian Wilderness, the bold young man’, The Manchurian Hero, Practical Story of Majeomsan, ‘The Detective Tragedy, The Beauty of Blood’, ‘The Gangster and the Maiden’ ‘Find your husband, Manchuria’. ‘Son and Daughter’ appears as a small hero of overcoming family hardships, rescuing a father who was captured by gangster and rescuing a ‘sold daughter’. In addition, 'short-haired beauty' seeks husband or seeks revenge. These personal heroes are extended to national heroes through the family-ethnic allegory. In addition, popular narrative in the 30s is a modern transformation of the story of Chunhyang and Shimcheong, and generally shows a traditional orientation. These popular narrative respond to the ideology of Japanese colonial rule through overcoming the Manchurian Passion and fantasy, but they also deviate from it. In the Manchurian action film of the 1960s, the independence army and anti-Japanese heroes that were deleted or concealed in the 30s are revived. In these narrative, the forgotten independence army regains the shape of a dignified hero and transforms into a warrior who fights fiercely with the Japanese army who accompanied him in the past. This shape of a national hero is closely related to anti-Japanese nationalism and anti-communism nationalism in the 1960s. The anti-Japanese struggle shown in Manchuria action in the 1960s is a work to overthrow the memories of the colonial past, which were powerless, and to heal trauma. The incompetent colonial 'male subject' changes to the subject of revenge. Their revenge is justified by the ‘women who were humiliated’. In the Manchurian action film, the suffering and rescue narratives of the ‘family’ are repeated, and the appearance of the ‘child’ adds a new wave to the Manchurian action. The father's activity in finding the enemy and taking revenge and recovering his son who had been stolen by Japan means the reconstruction of the nation-state by reclaiming the 'stolen homeland' and setting up the wrong national history. In addition, the often repeated ‘return of the prodigal son’ is an imaginary punishment and repentance for the pro-Japanese co-workers and pro-Japanese survival in the past.