‘제국의 위안부’, 하루미(春美)의 소환과 식민지 지배

Abstract

In the post-war Japanese popular culture arena, Harumi of “shunpu-den”, which has been reproduced several times in the form of novels, plays and movies, is a representative of the 'Korean comfort women' representation.　The reason why the writer gave her Fictitious freedom was to establish the narrative of the novel, the international love of Korean comfort woman and Japanese soldiers.　such a former Japanese soldier's representation of the other disappeared is due to the issue of Kakou Senda in 1973.　On the other hand, “shunpu-den”, which is a work on which the “colonial desires” of Japanese mid-war men, has been projected, has been restructured and quoted several times in Korea. The 1974 Korean movie “Women's Teishin-tai” is a work that was reconstructed from “shunpu-den” with the nation of the protagonist as “Korea”. Published in Japan in 1976 and translated into Korean three times in the 1980s, Kim Ilmyeon's “Emperor's Army and Korean Comfort Women” quoted the Tamura novel several times.　The text based on Tamura's novel and its narrative as a logical development is Park Yuha's “Empire Comfort Women”.　Here, it is revealed how 'International romance' of 'Korean comfort women', established from 'fictional freedom', justifies 'violence violence' and 'colonial dominance'.　The film　“Women's Teishin-tai”　and Kim Ilmyeon are similar to Park in that they grasped the relationship between the Korean comfort women and Japanese soldiers on the premise of "fictional freedom" from a male perspective.　If so, how can these be argued against Park's logic?