In the 5,000 years Korean history, the Korean war was the most tragicand devastating affliction. Over the past 60 years, Civil War and thedivision of nation was affected South Korea in almost all areas of society. Korean war cinema represented anti-communism until the end of thePark’s regime. From 1970s to 1980s, Korean film industry was depressed. At that time, some authors made Korean war cinema very seriously. However, in 1999, after the success of <Shiri>, Korean film industrywent Korean blockbuster era rapidly. Korean war movie, <Taegukgihwinalrimyeo>(2004) had a great box-office success. <Welcome to Dongmakgol>(2005) also had a box office hit. In the 2000s, Korea has a fundamentally different aspect. In timesbefore, Korean experienced the war directly. Now the war is known onlyas a historical event by the postwar generation. As a concrete example, let’s investigate <Welcome to Dongmakgol><Gojijeon>(2011). Spectators cheered ‘Dongmakgol’, as an utopia. Itreflected fatigue society after the IMF in 1997. Korean society has beengripped by crude materialism and harsh competition. In <Gojijeon>, theKorean soldiers are suffering from post-traumatic stress disorder. In former battle, they killed fellow soldiers to survive. This film ended thatthe hero worked through heaps of corpses in despair. This is deepsuspicion about the war, but there is no mourning. This is Korea’ssentiment about the Korean war in the postwar generation.
1. 머리말
2. <싸리골의 신화>와 <웰컴 투 동막골>의 ‘차이’
3. <돌아오지 않는 해병>과 <고지전>의 ‘차이’
4. 맺음말
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