2000년대 한국영화에서 재현된 국가폭력의 역사에 대한 고찰

Consideration on Filmic Representation about the History of State Violence since the 2000’s Korean Cinema

Recently, films that address the period of Korean modern history about the history of violence have been steadily produced in a number of different ways. This phenomenon seems to imply the fact that political conditions to deal with the period have matured and enough time has gone by to view the pain of the period from a distance. However, in the filmic reproduction of the recent past, like this, there should be certain hardships. They include issues of how to deal with the memory and trauma of people who lived and suffered in those days and how to publicize it to younger generations who have no information on it at all. Therefore, to reproduce such history needs more meaningful considerations from the aspect of aesthetics and ethics, than those for ordinary films. In this vein, <May 18> deals with Gwangju Democratization Movement fully, but it left not small regrets. It is because the film consolidates the factual and universal perception of history of Gwangju Democratization Movement and utilizes it as a mechanism for the impression and pleasure of genre films as well. This historical viewpoint is very dangerous in that such history only can be composed by the standpoint of winners. As mentioned by Walter Benjamin, history cannot but face the moment of flash-like combination and dismantlement by individual main bodies who recompose it in their own way according to the arrangement of constellation. In this regard, it is necessary to examine these kinds of films that reproduce history in their own way of making differences under the structure of genre films. Having the appearance of a comedy genre, &lt;Scout> combines the ingredient of a melodrama, namely encountering a bygone love. In the film, history does not naturally flow. It opens the gate of figures’everyday life forcibly and then comes in. In this moment, the problem of personal memory, oblivion and trauma intervenes. A male, who unwittingly forgot painful memory of forcibly becoming an inflictor of violence, recalls the memory of the past as a present victim of violence. These personal memories gather together and then consist of collective memories of resistance, thus composing the history of revenge. On the other hand, <26 Years> describes a novel idea that the victims in the period of Gwangju Democratization Movement try to go to kill Jeon,Du-hwan, via actions and thrillers. At this time, numberless errors, made by planners, hold up the development of narrative and impede the concentration of genre film-oriented tension and pleasure. <The President’s Last Bang> and <Namyeong-dong 1985> establish a historical space using a theatrical closed space. The former becomes a filmic tool that plays the role of scoffing at and a frame that contains the discussion on history. Whereas the latter presents the modality of horror and pain, which is doubled by crashing into the external routines that come in the closed space. Although endeavors to reproduce the shameful modern history of violence via films are ever active for the present, it is necessary to be watchful against using such films placed in the sphere of pop films as a simple mechanism of genre-oriented pleasure and create images that have diverse differences. And it is also necessary for researchers to closely examine various textures of these films and then give meanings to them from their standpoints.