The Sacrifices of Youth: Historical Feature Films on South Korea’s Longue Durée
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This paper demonstrates how some South Korean historical films over the past two decades comment on critical meta-narratives of the country’s past, and in turn reflect the powerful presence of this history in South Korea today. Due to the directors’ age as well as to the relaxing of film censorship in the 1990s, among other factors, these films have generally represented the liberal historical views that came to prevail in South Korea following democratization in the late 1980s. But the filmic expressions of this general understanding emphasize a variety of driving forces and elements in the nation’s modern history. Beginning with an analysis of the recent hit, “Ode to My Father,” this study examines approximately a dozen films as they illuminate three major historical themes: South Korea’s turbulent origins; life under the rule of Park Chung Hee; and the struggle to overcome the burdens of the past. It finds that, on the whole, these films have featured young protagonists as symbols and vehicles of crucial historical moments, which results in a somewhat unbalanced, but nevertheless diverse range of historical perspectives.
Abstract
This paper demonstrates how some South Korean historical films over the past two decades comment on critical meta-narratives of the country’s past, and in turn reflect the powerful presence of this history in South Korea today. Due to the directors’ age as well as to the relaxing of film censorship in the 1990s, among other factors, these films have generally represented the liberal historical views that came to prevail in South Korea following democratization in the late 1980s. But the filmic expressions of this general understanding emphasize a variety of driving forces and elements in the nation’s modern history. Beginning with an analysis of the recent hit, “Ode to My Father,” this study examines approximately a dozen films as they illuminate three major historical themes: South Korea’s turbulent origins; life under the rule of Park Chung Hee; and the struggle to overcome the burdens of the past. It finds that, on the whole, these films have featured young protagonists as symbols and vehicles of crucial historical moments, which results in a somewhat unbalanced, but nevertheless diverse range of historical perspectives.
참고문헌 (17)
- Yang Woo-suk, "The Attorney (Pyonhoin)", ~ (2013)
- Jang Sun-Woo, "May 18 (Hwaryohan hyuga)", ~ (2007)
- Yoon Je-kyoon, "Ode to My Father (Kukche sijang)", Plus DVD documentary, ~ (2014)
- Im Sang-soo, "The Old Garden (Orae toen chongwon)", ~ (2007)
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- Lee Chang-dong, "Peppermint Candy (Pakha satang)", ~ (1999)
- Jang Sun-Woo, "A Petal (Kkonnip)", ~ (1996)
- Chan-sang Lim, "The Presidents Barber (Hyojadong ibalsa)", ~ (2004)
- Im Sang-soo, "The Presidents Last Bang (Ku ttae ku saramdul)", ~ (2005)
- Lee Kwang-mo, "Spring in My Hometown (Arumdaun sijol)", ~ (1998)
- Im Kwon-taek, "The Taebaek Mountains (Taebaek sanmaek)", ~ (1994)
- Kang Je-gyu, "Taegukgi—the Brotherhood of War (Taegukki rul hwinallimyo)", ~ (2004)
- Kim Dae-seung, "Traces of Love (Kaul lo)", ~ (2006)
- Park Kwang-hyun, "Welcome to Dongmakgol (Waelkom tu Dongmakgol)", ~ (2005)
- Gateward, Frances., "Seoul Searching: Culture and Identity in Contemporary Korean Cinema", pp.115~140 (2007), SUNY Press
- Kim, Kyung Hyun., "Virtual Hallyu: Korean Cinema of the Global Era" (2011), Duke University Press
- Magnan-Park, "New Korean Cinema", pp.32~50 (2005), Edinburgh University Press