Abstract

Two recent films made in South Korea exemplify that country's post-traumatic cinema by helping to reconcile painful public history through personalized perspectives. The depictions in these films of sensitive historical matters-the labor movement in the 1970s and the Kwangju uprising in 1980-demonstrate the difficulties of recuperating a salient political subject in a cinema previously disfigured by state violence.

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Additional Information

ISSN
2578-4919
Print ISSN
2578-4900
Pages
pp. 95-115
Launched on MUSE
2002-08-01
Open Access
No
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