A Comparative Study Of Chinese And Korean "Comfort Women" Movies

During World War Ⅱ,Japan forcibly recruited women as "comfort women" in Korea,China,the Philippines,Indonesia and other Asian countries.After the war,Japan still failed to completely solve this problem.The "comfort women" was a hidden issue for a long time.It was not until the end of the twentieth century that it was recognized by Korean survivors.Since the 1990s,China and South Korea have successively produced a series of "comfort women" movies,which has greatly increased the social attention of the "comfort women" issue and expanded people’s awareness of the "comfort women" group.Let the public have a deeper understanding of women’s groups and women’s rights.This article selects and compares the films of "comfort women" in China and South Korea to try to explore the image of "comfort women" on the screens of the two countries,and analyzes the similarities and differences between the films in terms of traumatic narrative and historical reproduction,with a view to looking for similar movies in the future Provides a reference to create more outstanding works.The main body of this article is divided into four chapters:The first chapter retrospects the history and current status of the "comfort women" problem,and details the creation overview of the "comfort women" movies in China and South Korea.The second chapter divides the image of "comfort woman" in the movie into three types of images:victim,redeemer and "her".It also discusses the cultural orientation of the two countries behind the image.Under the influence of traditional gender perspectives in East Asia,"comfort women" are often regarded as a shame,which makes them suffer from the pressure of family and society for a long time,which makes them in a dilemma of "aphasia" for a long time.The third chapter focuses on comparing the similarities and differences between Chinese and Korean films on traumatic narratives,and sorts out the differences between the two in terms of narrative appeal,narrative discourse,and emotional expression.In terms of narrative appeals,both Chinese and Korean films include three aspects of trauma testimony,trauma reflection and trauma consumption.In terms of narrative discourse,Chinese films are inseparable from grand narratives such as the country and wars.Korean films are relatively far from national hatred and family hatred.The focus is on the trauma of "comfort women" individuals.In terms of emotional tone,Korean films have maintained a consistent tragic narrative,and Chinese films have made some attempts to "de-sorrow" in recent years.The fourth chapter focuses on the film’s reappearance of the special history of "comfort women"involving sexual violence,and discusses the relationship between historical truth,fictional images and visual ethics.Whether it is a documentary film or a story film,there is a certain historical value,but there are also deviations from the truth of history.At the same time,regarding the relationship between historical reality and visual ethics,it is also necessary to think about the limits of the reproduction of "comfort women"images from the perspective of the audience and the victim.