earticle

영어

Since the 1990s, ‘comfort women’ has been an important issue affecting the diplomatic relations between South Korea and Japan, China and Japan. Regarding the issue of the statue of girl, South Korea is ‘fanaticism’, Japan is ‘evasion’, and China is ‘fade forgetting’. From glamorous women to girls, then converted to old women, the transformation of the image of ‘comfort women’ is actually a revolution in the collective memory and popular discourse surrounding the ‘comfort women’. Therefore, this article pay special attention to the issue of the representation of comfort women in the film media. Through a comparative study of South Korea and China's “comfort women” documentary films “The Murmuring” and “22”, it will examine the popular discourse of “comfort women” between China and South Korea. In the previous macro narrative, the woman of ‘comfort women’ was asked to be silent and forgotten, but only the object of the narrative. Through the subject matter of documentary film, the interaction between record and memory, and the protagonist learn to tell her story in a ‘low-lying’ way, and express herself in a non-verbal form, which can be seen as corresponding to macro narrative. The new ‘historical writing’ of the comfort women's is also the growth narrative of the female subject. Besides, compared with the direct gazing view showed in “The Murmuring”, “22” shows the ‘gaze’ of humane care. It can be seen that in the popular discourse in China, the history of comfort women has not matched the current women potential social problems -sexual violence and misogyny, and this part will be a topic worthy of further discussion in the field of Chinese film and culture.