제국을 위한 <전송가> 헐리우드 한국전 영화와 “명백한 가족”
Battle Hymn for the Empire: Hollywood Korean War Films and the 'Manifest Family'
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Hollywood Korean War films functioned as a crucial semantic terrain in the construction and consolidation of the U.S.-centered Cold War order. These films often appropriated the war in Korea mainly as a backdrop to tell the stories about American families, and in portraying the war as family drama, they attempted to recast the U.S. as a coherent family-nation and integrate Asian peripheries into an adoptive family-empire of America. Battle Hymn, directed by Douglas Sirk and encapsulated in the format of sentimental family melodrama, makes a particularly apt illustration of the Korean War film genre and the underlying Cold War world view. The film is based on the true story of Colonel Dean Hess, who airlifted hundreds of orphans to safety during the Korean War. The hero "saves" Korean orphans to make payment for his "debt" to a group of German orphans he happens to have bombed in an air raid during World War II. In turn, it is his debt, his failure to reciprocate, which provides the basis for his "claim" upon the orphans he "saves." This paper argues that the liberal logic of "reciprocity" - the symbolic economy of "gift" and "debt" - is symptomatic of the notion of "benevolent supremacy," the mythologized Cold War political imperative to "integrate" the Third World into the "free world" premised upon a global free trade system. Taking Battle Hymn as an illustration, it explores the ways in which Cold War political rationality was probed, produced, and proliferated in the complex terrain of culture, particularly, in the popular cultural space of Hollywood Korean War films.
Abstract
Hollywood Korean War films functioned as a crucial semantic terrain in the construction and consolidation of the U.S.-centered Cold War order. These films often appropriated the war in Korea mainly as a backdrop to tell the stories about American families, and in portraying the war as family drama, they attempted to recast the U.S. as a coherent family-nation and integrate Asian peripheries into an adoptive family-empire of America. Battle Hymn, directed by Douglas Sirk and encapsulated in the format of sentimental family melodrama, makes a particularly apt illustration of the Korean War film genre and the underlying Cold War world view. The film is based on the true story of Colonel Dean Hess, who airlifted hundreds of orphans to safety during the Korean War. The hero "saves" Korean orphans to make payment for his "debt" to a group of German orphans he happens to have bombed in an air raid during World War II. In turn, it is his debt, his failure to reciprocate, which provides the basis for his "claim" upon the orphans he "saves." This paper argues that the liberal logic of "reciprocity" - the symbolic economy of "gift" and "debt" - is symptomatic of the notion of "benevolent supremacy," the mythologized Cold War political imperative to "integrate" the Third World into the "free world" premised upon a global free trade system. Taking Battle Hymn as an illustration, it explores the ways in which Cold War political rationality was probed, produced, and proliferated in the complex terrain of culture, particularly, in the popular cultural space of Hollywood Korean War films.
참고문헌 (14)
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