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Cinematic Han and the Historical Film: South Korean Cinema and the Representation of Korea’S Geopolitical Conflict in the Twentieth Century

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Cinematic Han and the Historical Film: South Korean Cinema and the Representation of Korea’S Geopolitical Conflict in the Twentieth Century School of Media, Creative Arts and Social Inquiry Cinematic han and the Historical Film: South Korean Cinema and the Representation Of Korea’s Geopolitical Conflict in the Twentieth Century Niall Edward Peter McMahon This thesis is presented for the Degree of Doctor of Philosophy of Curtin University November 2018 0 1 Contents Acknowledgements .................................................................................................. Page 3 Thesis Abstract ........................................................................................................ Page 4 List of Illustrations ................................................................................................... Page 5 General Introduction ................................................................................................ Page 8 Chapter 1 - Historical Knowledge and the Fiction of the Historical Film Genre . Page 23 Chapter 2 - Cinematic han and the South Korean Historical Film ....................... Page 63 Chapter 3 - The Japanese Occupation of Korea and the South Korean Historical Film .............................................................................................................................. Page 129 Chapter 4 - World War II and the South Korean Historical Film ....................... Page 197 Chapter 5 - The Korean War and the South Korean Historical Film .................. Page 243 General Conclusion ............................................................................................. Page 300 Appendix 1 - Interview with Lee Joon-ik (English translation) .......................... Page 302 Appendix 2 - Interview with Lee Joon-ik (Korean original) ............................... Page 306 Bibliography ........................................................................................................ Page 310 Filmography ......................................................................................................... Page 332 2 Acknowledgements This thesis is dedicated to everyone who ever listened to my ideas, complaints and epiphanies regarding this research, and to all of those who endured the countless highs and lows that came along with this unforgettable experience. I could not have done this without any of you. To name a few: My academic supervisor, Antonio Traverso, whose tireless dedication to both myself and my research somehow took my disparate ideas and slapdash writing and crafted it into something not only coherent, but something I can be proud of. My secondary supervisor, Stuart Bender, whose wisdom, generosity and unique perspectives inspired me to approach my work from angles I did not think possible. My colleague and friend, Rosalie Greener, whose kindness, patience and understanding helped me through many difficult times and whose sage advice set me on the path I am today. My dear friends, Cameron Whittle, Kelsey O’Connor, Sam Levitz and Jace Koh, who put up with me over the last five years and somehow kept me feeling loved and sane despite me being a terrible friend on numerous occasions. To my parents, Russell and Julie, who, from day one, never stopped supporting me throughout this experience. From providing me with the best education possible, to putting up with my various rants, and, naturally, the endless supplies of coffee, without both of you I would not be where I am today. I could never have done this without either of you and the love and dedication you have shown me throughout my life. I love you both more than words. Finally, to my brother, Camden, who, inarguably, has been my biggest supporter of all. Without the constant, tireless and unconditional love and support you have shown me throughout the years, from our intense debates over the smallest topics and how you care about me more than I do myself, I do not know how I could have made it without you. There are so many things I want to say to you, but I have neither the time nor space to do so. All I can say is, thank you. For everything. 3 Thesis Abstract Throughout the twentieth century, Korea faced numerous periods of geopolitical conflict that shaped this nation’s social, political and cultural landscape. These periods of military conflagration represented experiences of unfathomable oppression and suffering for the Korean people. It is often attributed to the cultural legacy of these experiences the development of the Korean cultural concept of han, which has been given widespread use in Korea to describe an intense feeling of oppression, anger and sadness, conjoined with hope, allegedly shared by all Koreans, which would also manifest in Korean art, literature and film. This thesis identifies a unique film aesthetic, deemed here as cinematic han, that embodies the complexities of this Korean cultural concept within South Korean historical films made between the 1950s and 2010s. South Korean historical films are found to evoke this aesthetic through narrative and style, depicting Korean characters as devoid of agency under an oppressive, external agent, while granting the representation of geopolitical conflict in Korea a prison-like appearance and atmosphere. The thesis finds this cinematic han to be consistent throughout the South Korean historical film genre despite the ongoing formal changes to this nation’s film industry’s structures, policies, discourses, and practices. The resulting representations of war and suffering are thus found to enhance the symbolic links between the cinematic text and its socio-cultural context of production, while enabling South Korean cinema’s construction of historical knowledge about this nation’s geopolitical conflict in the twentieth century. Utilising a methodology involving textual, historical and theoretical analysis, this thesis examines the evocation of cinematic han in South Korean historical films that depict the three main periods of armed conflict in modern Korean history: the Japanese Occupation of Korea, World War II, and the Korean War. 4 List of Illustrations Figure 1, Page 32………The Admiral: Roaring Currents, (screenshot), 2014, Kim Han-min, retrieved from DVD, Madman Entertainment, South Korea. Figure 2, Page 40………Nameless Stars, (screenshot), 1959, Kim Kang-yun, retrieved from Korean Classic Film Youtube Channel, Korean Film Archive, South Korea. Figure 3, Page 51………Five Marines, (screenshot), 1961, Kim Ki-duk, retrieved from DVD, Korean Film Archive, South Korea. Figure 4, Page 52………The Front Line, (screenshot), 2011, Hun Jang, retrieved from DVD, Trinity Filmed Entertainment, South Korea. Figure 5, Page 97………Piagol, (screenshot), 1955, Lee Kang-cheon, retrieved from Korean Classic Film Youtube Channel, Korean Film Archive, South Korea. Figure 6, Page 99………Five Marines, (screenshot), 1961, Kim Ki-duk, retrieved from DVD, Korean Film Archive, South Korea. Figure 7, Page 99………Five Marines, (screenshot), 1961, Kim Ki-duk, retrieved from DVD, Korean Film Archive, South Korea. Figure 8, Page 111………General’s Son, (screenshot), 1990, Im Kwon-taek, retrieved from DVD, Taehung Pictures, South Korea. Figure 9, Page 111………General’s Son, (screenshot), 1990, Im Kwon-taek, retrieved from DVD, Taehung Pictures, South Korea. Figure 10, Page 122………Assassination, (screenshot), 2015, Choi Dong-hoon, retrieved from DVD, Showbox Entertainment, South Korea. Figure 11, Page 142………Nameless Stars, (screenshot), 1959, Kim Kang-yun, retrieved from Korean Classic Film Youtube Channel, Korean Film Archive, South Korea. Figure 12, Page 144………General’s Son, (screenshot), 1990, Im Kwon-taek, retrieved from DVD, Taehung Pictures, South Korea. 5 Figure 13, Page 145………General’s Son, (screenshot), 1990, Im Kwon-taek, retrieved from DVD, Taehung Pictures, South Korea. Figure 14, Page 156………Assassination, (screenshot), 2015, Choi Dong-hoon, retrieved from DVD, Showbox Entertainment, South Korea. Figure 15, Page 190………Assassination, (screenshot), 2015, Choi Dong-hoon, retrieved from DVD, Showbox Entertainment, South Korea. Figure 16, Page 206………The Sea Knows, (screenshot), 1961, Kim Ki-young, retrieved from Korean Classic Film Youtube Channel, Korean Film Archive, South Korea. Figure 17, Page 210………Spirits’ Homecoming, (screenshot), 2016, Cho Jung-rae, retrieved from DVD, Waw Pictures, South Korea. Figure 18, Page 228………The Sea Knows, (screenshot), 1961, Kim Ki-young, retrieved from Korean Classic Film Youtube Channel, Korean Film Archive, South Korea. Figure 19, Page 240………Spirits’ Homecoming, (screenshot), 2016, Cho Jung-rae, retrieved from DVD, Waw Pictures, South Korea. Figure 20, Page 240………Spirits’ Homecoming, (screenshot), 2016, Cho Jung-rae, retrieved from DVD, Waw Pictures, South Korea. Figure 21, Page 250………Five Marines, (screenshot), 1961, Kim Ki-duk, retrieved from DVD, Korean Film Archive, South Korea. Figure 22, Page 258………Nambugun, (screenshot), 1990, Jeong Ji-yeong, retrieved from DVD, Taehung Pictures, South Korea. Figure 23, Page 265………The Front Line, (screenshot), 2011, Hun Jang, retrieved from DVD, Trinity Filmed Entertainment, South Korea. Figure 24, Page 267………The Front Line, (screenshot), 2011, Hun Jang, retrieved from DVD, Trinity Filmed Entertainment, South Korea. Figure 25, Page 275………The Front Line, (screenshot), 2011, Hun Jang, retrieved from DVD, Trinity Filmed Entertainment, South Korea. 6 Figure 26, Page 283………Nambugun, (screenshot), 1990, Jeong Ji-yeong, retrieved from DVD, Taehung Pictures, South Korea. Figure 27, Page 289………Five Marines, (screenshot), 1961, Kim Ki-duk, retrieved from DVD, Korean Film Archive, South Korea. Figure 28, Page 293………Nambugun,
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