해방 이후 안중근 영화의 서사 변화와 특성 = The Narrative Changes and Characteristics of Films about Ahn Jung-geun since Korea’s Liberation

다국어 초록 (Multilingual Abstract)

This study conducts an in-depth examination of six films about Ahn Jung-geun which were produced from the liberation of Korea in 1945 to the present, focusing on how the social atmosphere of each era and the progress of studies on Ahn, Jung-geun have been reflected in cinematic narratives.
Films from the liberation period to the 1970s primarily emphasized a narrative structure centered on national ruin and the act of assassination. Due to limitations in historical sources and research during this time, these works lacked a deeper exploration of Ahn’s personal anguish or ideological thought. From the 1980s onward, with the systematic compilation of historical materials and the revitalization of studies on Ahn, Jung-geun, diverse aspects of his life—such as his Treatise on Peace in East Asia, his catholic faith, activities in the righteous armies, and the formation of the Danjihoe (Finger Severance Alliance)—were highlighted. This academic and cultural shift was reflected in cinematic narratives, which began to expand beyond heroic portrayals to encompass his inner struggles, convictions, religious identity, and camaraderie.
Since the 2000s, films have further strengthened the depiction of Ahn, Jung-geun’s inner side, religious identity, and personal relationships. Greater attention has been paid to his ties with his mother, Jo Maria, solidarity with comrades, and individual conflicts. In Thomas Ahn Jung-geun (2004), his religious faith and internal struggles are emphasized alongside the pivotal role of his mother. In Hero (2022), his anguish, familial love, and comradeship are vividly depicted, including dramatizations of Jo Maria’s letter urging sacrifice and the transformation of Japanese prison guard Chiba Toshichi. Conversely, Harbin (2024) breaks away from exaggerated heroism to portray realistic conflicts and dilemmas, such as debates over prisoner exchanges, guilt over battlefield defeats, and distrust among comrades. This cold, restrained approach foregrounds Ahn’s human vulnerability and the dilemmas of his era. This transformation is closely associated not only with the intensified scholarly inquiry into Ahn Jung-geun during the 2000s, but also with the contemporaneous socio-historical climate marked by heightened interest in him as a heroic figure.
Thus, cinematic narratives of Ahn Jung-geun have been continually reconstructed in accordance with the advancement of historical research and shifting societal values. While early films built narratives around national ruin and patriotic sacrifice, later works increasingly incorporated his inner struggles, convictions, camaraderie, and religious identity. Recent films, in particular, balance heroic and humane aspects, with a strong emphasis on realistic conflicts and personal anguish.