베트남전쟁의 재현 양식 연구 : 1980년대 후반 이후 등장한 한국영화를 중심으로 = Research on the Representation Pattern of the Vietnam War : focusing on Korean Films Emerging after the Late 1980s

다국어 초록 (Multilingual Abstract)

The starting point of this research is to be attentive to how films portray wars. While experiencing wars such as the Korean War and the Vietnam War, films have portrayed wars in many ways. However, wars portrayed in films capture the audience in sensations; leading them to forget the violence and the reality of the incident. Being conscious of such a problem, this research considered films about the Vietnam War, a subject matter that had been alienated for a while, for its research target. The ways that the Vietnam War is remembered in Korean society has changed following time periods; and films portrayed the war memories according to the surrounding times.
During the 1960s, when the time of the Vietnam War, the war was actively entitled and recognized by the government as an anti-Communism activity and an opportunity for economic development. Such recognition became a general truth resounding in the populace and society through a mistaken understanding of the reality of a Vietnam War incident which was also boxed within the illusion for national interests. Following, this became a Collective Memory, and films were utilized as a medium to share war memories. The image of Vietnam War portrayals arising during this time depicted pre-existence viewpoint, so to say, Korea was the victim of the Vietnam War.
Such portrayals made it impossible for Korean to understand the reality of the war by maintaining the same view as American. To repeat, through Korea desiring after the same desires of imperialism of American, the discussion on the war was composed with such recognitions. Eventually, veterans remembered the Vietnam War simply as recollections and romances while Korea recollected it as a monument symbolized by the Gyeongbu High Way. However, as individual memories, such as the slaughter of innocent people, showed up one by one, these memories were gathered together and reproduced, creating a new Counter memory. That is, a new change arrived in the viewpoint of looking at the war. Therefore, the position of the Korean military was reset from a view that said it was a victim returning from war with only wounds to the view that said it was an imperialistic invader. The change of such view slowly started to appear aligned with the flow of humanity/social science changes starting from the late 1980s.
Hence, the purpose of this research is to specifically analyze the process and method with which films portray views towards the Vietnam War. Namely, it means to search what ways media pieces called films are describing the Vietnam War, and further, through the problem of how it is constructed as a film, find points of introspection and consideration towards the Vietnam War. We examined the historical background on the Vietnam War, the methods the government of that time used to stipulate the war and sublime it as a collective memory, and the emergence of the counter memory.
However, the problem is such memories are neglecting the pain of the war being portrayed in films. In other words, it was that wars in films were utilized as only simple subjects or the backgrounds to the characters. Additionally, the interval between the war, a historical incident, and the movie media could be confirmed in the methods and devices of portraying them through film. Such work is a warning toward society’s indifference that regards the violence and pain of wars as being natural for growth while remaining impassive to the pain of others.
The purpose of this research is contemplating the introspection and consideration about how Korean society should remember the Vietnam War, what the Vietnam War is to us, and what we did there by specifically studying how Vietnam War films compose wars.

목차 (Table of Contents)

• Ⅰ. 서론 = 1
• 1. 연구목적 = 1
• 2. 선행연구 및 연구문제 = 4
• 3. 연구대상 및 연구방법 = 8
• Ⅱ. 베트남전쟁과 전쟁기억 = 17
• 1. 베트남전쟁 참전과 파병 = 18
• 2. 전쟁 경과와 철군 = 20
• 3. 호명에 의한 집단기억 형성 = 22
• 4. 대항기억의 등장 = 26
• Ⅲ. 한국영화가 전쟁을 재현하는 방법 = 30
• 1. 전쟁 희생자로서의 기억 = 32
• 1) 참전군인의 상흔 : <우리는 지금 제네바로 간다> = 32
• (1) 내러티브 논리체계 = 32
• (2) 쇼트별 이미지 분석 = 38
• 2) 남은 자의 상흔 : <미친 사랑의 노래> = 43
• (1) 이미지 없는 목소리 = 43
• (2) 내러티브의 논리관계 = 44
• (3) 쇼트별 이미지 분석 = 47
• 3) 베트남전쟁의 집단기억 : <하얀전쟁> = 50
• (1) 집단기억 = 50
• (2) 내러티브 논리체계 = 51
• (3) 쇼트별 이미지 분석 = 57
• 2. 전쟁의 가해자로서 기억 = 62
• 1) 죄의식의 표출 : <알 포인트> = 62
• (1) 내러티브 논리체계 = 62
• (2) 쇼트별 이미지 분석 = 67
• 2) 베트남과 동질성 회복시도 : <님은 먼곳에> = 71
• (1) 영화음악 = 72
• (2) 내러티브 논리체계 = 73
• (3) 쇼트별 이미지 분석 = 78
• Ⅳ. 결론 = 84
• 참고문헌 = 87
• ABSTRACT = 95