著者
芳賀 恵 玄 武岩
出版者
北海道大学大学院国際広報メディア・観光学院 = Graduate School of International Media, Communication, and Tourism Studies, Hokkaido University
雑誌
国際広報メディア・観光学ジャーナル
巻号頁・発行日
vol.26, pp.3-19, 2018-03-20

This article examines the narrow path to de-nationalisation in South Korean films dealing with the Japanese colonial period since the 2000s that we call 'colonial pieces'. Based on Ryu Seung-wan's "Battleship Island" (Gunhamdo, 2017) situated during Korean mobilization under colonial rule, we argue that it is possible to clarify the style and strategy of visual representation used to replace the dichotomy of victimizers (Japan) and victims (Korea) in recent 'colonial piece' films. By focusing on the representation and its stylistic aspects of "Battleship Island" in relation to the empire of Japan through the periodical transition of political, social and cultural meaning, this article explores the way in which these films act on the process of reproducing colonial memories in Korean society and the historical issue between Japan and Korea, as a postcolonial problem of cultural and social politics.

言及状況

Twitter (2 users, 2 posts, 0 favorites)

こんな論文どうですか? 韓国映画の「植民地もの」における脱ナショナリズムの隘路 : 『軍艦島』の「親日派」表象をめぐって(芳賀 恵ほか),2018 https://t.co/pcYB4v9RVN
これもあとでよもー CiNii 論文 -  韓国映画の「植民地もの」における脱ナショナリズムの隘路 : 『軍艦島』の「親日派」表象をめぐって https://t.co/WjYIz8FK2K #CiNii

Wikipedia (1 pages, 1 posts, 1 contributors)

収集済み URL リスト