‘전후 일본’의 젠더화된 전쟁 표상과 검열 - ‘원폭 오토메’와 리코란을 중심으로 -

Abstract

This study focused on the representations of “A-bomb Otome” and “Japanese Military Sexual Slavery” that appeared in Japanese society in the early 1950s, and tried to investigate the reason for the uncomfortable feeling of Japanese society about “The Statue of Japanese Military Sexual Slavery Girls”=<Peace Monument>. The “A-bomb Otome” that appeared shortly after the end of the occupation and In the movie “The Escape of dawn” in during the occupation period, Japanese Military Sexual Slavery =Ri ko-ran is Both are war memories and symbols whose freedom of expression was suppressed by censorship. However, while the former was recognized as a hidden and invisible damage to Japan’s war, the latter was shunned because it was positioned as “a prostitute” amid the dichotomy of women. In particular, Ri Koran’s exotic appearance and erotic gestures, who played “Japanese Military Sexual Slavery,” can be said to have shown that “A-bomb Otome” was taken away by the war. Thus, in “Postwar Japan,” the atomic bomb became an invisible symbol of war after censorship, occupying “Girl” = victimhood, and “Japanese Military Sexual Slavery” was located on the opposite side. It can be pointed out that this kind of composition is the reason for the conscious and unconscious sense of discomfort in Japanese society toward Japanese Military Sexual Slavery Girl’s Image to date.