Reply, Hard Movie

A hard background film is unfolded. Lee Dong-ik, director of the poet Yun Dong-ju, who ended his eighteen-short life in the Japanese colonial period, has already been released and praised. Director Park Chan-wook's young lady, who talked about the filming of Sarah Waters' Finger Smith, portrays the love of the two women by moving the original Victorian background of England to Kyungsung in the 1930s. Director Heung-Sik Park's Haehwa Hwa focuses on the fate of a woman dreaming of becoming the best singer and a composer who enjoyed the contemporary era in Gyeongseong in the 1940s. Director Hu Jinjin-ho's Deokhye Ongju and director Kim Ji-woon will each make the tragic life of Joseon's last mother and daughter Deokhye Ong, during the Japanese colonial period, and blockbuster the betrayal and conspiracy of the independence movement group and the fighters surrounding them.

In 2007 and 2008, so-called “hard films” such as Gidam (2007) and Layoo Days Once Upon a Time Modern Boy (above 2008) have been concentrated, but there are hardly any examples of such big directors as in 2016. It is not wrong to say that Choi's assassination, directed by Choi Dong-hun, who attracted more than 10 million audiences with similar backgrounds and materials last summer, was not quite an accurate analysis to explain the reasons for the epidemic. Just because a movie was so much fun in the box office, there were no examples of six or five works that followed it, although they might be planned at once.

Rather, it is correct to see that the desire shared by many members of Korean society is the result of being reflected in a film. For example, the veteran insider prosecutor's prosecution, the black trade of chaebol III and the corruption of the prosecutors, and the secrets of the prosecution's insider, are highly suggestive. The great feeling of betrayal that Koreans feel about the injustice and absurdity of our society, and that there are many audiences who enjoy the catharsis in the happy ending of the movie where the good side wins, the boiling point of the desire for justice, common sense, and morality to stand right at the top Bypass proves that you have reached.

The 10 million (closest) box office performance is a difficult figure to achieve with the entertainment of the movie alone. It is an area that becomes possible only when raising the desire of a group that rises below the surface of society. In fact, the assassination evokes social awareness of the pro-Japanese history, which was not properly settled, and succeeded in mobilizing 10 million audiences despite the long running time of 2 hours and 20 minutes. The interest in Dong-ju's young girl, Haehwa Hwa, and Deokhye-ong-ju's miljeong, is of course not only entertaining fun, but also indirectly includes a question of how to reflect the current Korean society. Recognizing that background, you can understand why hard films are so prominent this year.

Gyeongseong symbolizes a confused Korea as a space where pro-Japanese and anti-Japanese conflict between Korea's modernity and modernity, where Korea and Japan collide. The stagnation of confusion is Japan's militarism and the oppression of pro-Japanese factions attached to it, and in 2016, 툰코 background films focus on the lives of those who suffer from falling into the ruling class, so resisting the ruling class. As such, it is an expression of the movie that Korean society is not much different from the Gyeongseong era during the Japanese colonial period.

In short, the “comfort women negotiations” between the Korean and Japanese governments that took place in December of last year were shocked by the fact that the humiliating and unfavorable contents of South Korea were numerous. The negotiations, which did not collect opinions of the victims' grandmothers, were carried out on their own, but the Japanese government recognized the responsibility and supported the 1 billion yen for the establishment of the Comfort Women Foundation, but only Japan's moral responsibility was not specified. Mentioned that the support for'single' 1 billion yen was also set as a reward, not a compensation. In addition, the negotiations ultimately regarded the comfort women issue irreversibly as saying that they would no longer go to the Japanese side.

2016. It has been 71 years since Japan was liberated from Japan in 1945 and regained its sovereignty and sovereignty. It is necessary to reflect on the brutality that Japan committed as a war crimes nation and sincerely apologize to the affected grandmothers. Hard. Rather, regardless of national wishes, the South Korean government has expressed its intention to resolve the comfort women issue early and improve relations with the troubled Japanese government.

Not surprisingly, in the Dokdo issue, as well as the comfort women and the girl image, Korea has been consistent with the author's attitude, rather than actively responding to the Japanese government, which has raised voices in favor of them since the previous government. What is the identity of Korea in our time? It is not one or two who feel seriously that the “mental confusion” that the people groaning under Japanese rule during the Japanese colonial period might have experienced was similar. One of the trends in Korean cinema in 2016 is the background of the rise of hard films.

The film has raised the voice of criticism by confronting the government on a number of issues based on'movie journalism', but the entertainment factor has declined, and the audience has not responded. Moreover, as seen in the case of the diving bell that accused the government of incompetence against the Sewol ferry, the film that touched the government's nerves devised a way to circumvent Chungmuro ​​in situations where it had to withstand intense and intangible repression.

By way of bypass, as mentioned briefly at the beginning of the article, Kyungsung was noticed in 2007-2008. During the transition from the Roh Moo-hyun administration to the Lee Myung-bak administration, the Kyungsung film was a suitable background to foretell and reflect the chaos caused by the change of political power of political parties with different ideologies. However, it is largely due to the failure to properly reflect the social and entertainment abilities of tightrope walking, which has not been noticed in terms of work performance or performance. Because it emphasized only the message and image provided by the chaotic space of Gyeongseong, it would have been relatively burdensome to feel good from the audience's point of view of the entertainment factor.

In Chungmuro, always thirsty for good materials and backgrounds, history serves as a treasure trove of stories. This is especially true of the history of the Joseon Dynasty and beyond. The historical drama has long been a mainstream genre in Korean films after long-term verification in the box office and the verdict as historical entertainment, as there is enough historical material and plenty of room for imagination. However, what was concentrated in the Joseon Dynasty began to spread gradually to the Japanese colonial rule, and now it overlaps with the “some” desires condensed in Korean society, and the hard film became the trend of Korean films in 2016.

There are two main types of ‘some’ desires. First, in a situation where Japanese-friendly policies are breaking the soul of the people, many Koreans have no choice but to doubt their national characteristics, namely their roots. Who am I? What is the identity of my ancestors? In the 2016 Kyungsung movie, the confusion of identity is the main axis of the story. Inferred by the contents of the original novel, the young lady seems to be going through the story of the birth secrets of two girls whose birth was reversed, and the Japanese police Lee Jeong-chul, played by Song Kang-ho in the miljeong, is the underdog to help the independence activist, or the country's oldest country. Whether it is a cover or not, it is intentional to increase the confusion of the audience.

The situation in which Korea and Japan, allies and enemies, and me and you are in conflict will inevitably require choice. The confusion of what path of fate to choose for me, for the country, is the second desire of the hard film. Dong-ju Yoon Dong-ju, through poems, reveals the lives of the Korean people who are persecuted by Japanese imperialism, and suffers from shame for not actively resisting them. In addition, Deokhye Ongju, the last female daughter of Joseon Dukhyeok, was married to an unwanted person, went to Japan, and barely returned to Japan after suffering, and soon died.

Like Deokhye Ongju and Dongju, there are works based on a true story, and some works portrayed with fictional backgrounds in fictional stories like a young lady, but they have a similarity in that they look around Korean society by bypassing the times. By doing so, we will straighten history and convey the change of attitudes we must take and the perception of historical facts that should not be forgotten in this confused era in a form of entertainment.

History education is not limited to classrooms and textbooks. If the history is tied up only in the form of a subject, and it is cut with a singular gaze, it must be distorted. There is a need to approach with a variety of gazes, and in the era of video becoming the mainstream, the film is one of the good educational fields to inform and correct history. In particular, as a victim of tragic history, history has become more important in a situation where rather than raising the voice to the perpetrating country, rather than listening loudly. The reality that Gyeongseong is being re-illuminated during the Japanese colonial period through a hard film is not unusual.