Added: May 7, 2016 – Last updated: May 7, 2016


Author: Eun Ju Choi



Translation: Korean Comfort Women "Representation of Nagisa Oshima: Korean Comfort Women in the Post-war Japan Movie and Movie "nihon syunka-ko"

Journal: (The Korean Journal of Japanology)

Volume: 102

Issue: -

Year: February 2015 (Received: November 30, 2014, Revised: December 25, 2014, Accepted: January 20, 2015)

Pages: 247-260

ISSN: 1225-1453 – Find a Library: WordCat

Language: Korean

Keywords: Modern History: 20th Century | Asian History: Japanese History, Korean History | Representations: Films / Nihon shunka-ko; Types: Forced Prostitution / "Comfort Women"; Types: Wartime Rape / Asia-Pacific War



DBpia (Restricted Access)

Korea Association Of Japanology (Free Access)



»In this paper, I examine Nagisa Oshima"s film “Nihon syunka-ko” to determine how Korean comfort women are represented in postwar Japanese cinema. Thus, the representation of Korean comfort women enables us to consider various implications and allows us to see the possible significance of the way in which the Korean comfort women are represented in the movie. After the defeat, the presence of a “Korean comfort woman”, Harumi, is found in the novel “Syunpuden” and the movie “Escape at Dawn”, as in the Oharu representation of the movie “Blood and Sand”, in which the male subject of the old colonial powers is eroticism, represented as the “angel of the skin”. Among these representational systems, the director Seijun Suzuki, who offers the possibility of criticism, and who is quite authoritative on Korean comfort women, is to direct another Tuyuko remake album “Syunpuden”.
Nagisa Oshima “Nihon shunka-ko” is, to mediate the representation of Korean comfort women as a horizon of criticism, women / colonial war as being responsible for problems that have not been solved and violence against Japanese imperialism, is further caused by the fact that it represents a problem of the Korean people, with the principle idea that the Japanese have been accused of the time that has been spent. Thus, the representation of Korean comfort women, the horrors of colonial violence and the empire of men against women, at the time of the Japanese society, became the problem of Japanese Koreans, even ideally speaking without the problem of “Korean comfort women” have a variety of hidden meanings and potential as a medium to criticize the attitude that the consumer / proprietary owner is representational of. The representation of the “Korean comfort women” of Oshima raised issues that mediate, and that enable us to discover the meaning and possibilities with the representation of the “Korean comfort women” at the high end and low end of society.« (Source: DBpia)

Wikipedia: Film: Cinema of Japan / Nagisa Oshima