Sociological Study of analyses of Memory and its images in Korea and Japan

本研究主要探讨战后前殖民者的书面和视觉记忆在前殖民地和前宗主国的理解和接受。自2008年以来，我根据收集的档案材料和案例写了几篇文章。我将从二战后到20世纪60年代初的日本和韩国来看，因为当时许多电影制片人跨越边境，尽管两国之间没有外交关系，并带来了书面和视觉的经验和殖民地的记忆。为了了解殖民者拍摄的电影在日本和韩国是如何被观看和接受的，我对视觉媒体采取了一种语境方法，既考虑了拍摄对象的个人背景，也考虑了当时的社会氛围。我的调查结果如下。第一，为了不加剧两国之间关于殖民历史看法的争论，对日本人在朝鲜殖民地的电影进行了如此多的编辑。第二，这些电影在母性和爱的主题下，往往以妇女为中心人物，以强调两国共有的“普遍价值/共同价值”，从而避免由于对历史的看法不同而引起不必要的批评。最后，这些电影是在1965年日韩邦交正常化之前拍摄的，居住在日本的韩国人（在日）的电影制片人为这些电影在两国上映发挥了重要作用。然而，要了解20世纪60年代在韩日本人的电影经历以及在韩日本人的电影制作者在两国的活动，还需要进一步研究。

This study focuses on the question of how the written and visualized memories of ex-colonizers in the post-war era are understood and received in both former colonies and former suzerain. Since 2008, I have written several articles based on archival materials and case I have collected. I will look at Japan and Korea from right after the WW2 until the early 1960s, as it was the time when many film makers crossed the border despite the absence of diplomatic relations between two countries and brought written and visualized experiences and memories of colonies. In order to see how films taken by colonizers have been watched and accepted in Japan and Korea, I took a contextual approach to visual media by considering both personal background of the subjects and social atmosphere of the time. My findings are as following. First, so many editing has been done on the films on Japanese in Korean colonies in order not to intensify ongoing controversy on perception of colonial history between two countries. Second, these films often used a woman as a central character under themes of motherhood and love in order to emphasize "universal value/common value" shared in both countries, so that they could avoid unnecessary criticism due to a difference in perception of history. And lastly, these films were shot already before the diplomatic normalization of Japan and Korea in 1965, film makers of Korean resident in Japan (zainichi) played an important role for these films to be shown in both countries. However, further study is necessary to understand the film experience of Japanese in Korea as well as the activities of the film makers of Korean resident in Japan in both countries in the 1960s.