휴전의 상징, 비무장지대를 배경으로 한 한국영화의 영화적 특징에 관한 연구

Abstract

The DMZ(Demilitarized Zone) and armistice, which were the consequence of Korean War, are places where political and ideological tensions and interests between powerful nations are centered on, the site where the history of others dominate, and are symbolic spaces where the will and wish of the Korean, North and South, are colliding and interacting. Many film directors in South and North Korea visualized the colliding political ideas between South Korea and North Korea, the Korean War, the DMZ, and the armistice. On the one hand, they mainly showed the sorrow and sufferings that the war and the political and territorial division had brought to each other with humanistic lens. On the other hand, they examined such problems with their own specific ideology and system. Thus, they could not help but having limited look at the tragedy of Korean history. The cinematic objectification of historical events that happened in and around the cease fire line powerfully describe the tragedy. Beyond the ideological confrontation and the superiority competition of political system, the cinematic objectification showed the historical events themselves that happened in the DMZ. Among others, the best are The DMZ (Park Sangho, 1965), Joint Security Area (Park Chanwook, 2000), DMZ (Lee Gyuhyeong, 2004), Underground Rendezvous (Kim Jongjin, 2007), and On the Pitch (Gye Yoonsik, 2010). In these films, newsreels and documentary footages are what make objective historical events on which they are based. In addition to this, they accomplish the objectification by giving the temporal and spatial information on historical events, for example, by adding text on the scene. The aim of this paper is to analyze the five movies and show how they all use newsreels, documentary footages on Korean War, the armistice, and the division and the optical effect of adding text on film.