Authors and Corporations: | |
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In: | New Cinemas: Journal of Contemporary Film, 8, 2011, 3, p. 179-187 |
published: |
Intellect
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Media Type: | Article, E-Article |
Physical Description: | 179-187 |
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ISSN: |
1474-2756
2040-0578 |
DOI: | 10.1386/ncin.8.3.179_1 |
published in: | New Cinemas: Journal of Contemporary Film |
Language: | English |
Subjects: | |
Collection: | Intellect (CrossRef) |
<jats:p> <jats:italic>Peppermint Candy</jats:italic> (1999) and <jats:italic>My Own Breathing</jats:italic> (1999) are privileged texts for understanding the historical burdens of Korean society. These films touch upon key traumas in modern Korean history: the Gwangju Uprising and the plight of the comfort women during the colonial era. I argue that the trauma played out in <jats:italic>Peppermint Candy</jats:italic>, under the pretence of progressive political historiography, renders women's traumas invisible and unrepresentable in public discourse. <jats:italic>My Own Breathing</jats:italic>, on the other hand, presents an alternative way of approaching the historical trauma of comfort women.</jats:p> |