항일전쟁에 대한 두 가지 영화적 재현: <팔백영웅>(1976), <800>(2020)의 공간 이미지를 중심으로

초록

The Chinese People's War of Resistance against Japanese Aggression is a collective trauma of the Chinese community and plays an important role in constructing it. After the Chinese Civil War, the Chinese Communist Party (CCP) and the Kuomintang (KMT), in order to establish their legitimacy, reshaped this important memory with different dominant ideologies in various fields. This study focuses on the spatial images of the two films, centering on the 1976 version of <Eight Hundred Heroes>, produced under the Kuomintang (KMT) regime in Taiwan, and the 2020 version of <800>, produced under the Communist Party of China (CPC). Research results show that the post-war cinematic re-memory of this common memory by the CPC and KMT governments basically reflects the ideological differences between the two regimes. The <Eight Hundred Heroes> emphasizes the connection between the KMT, the Chinese nation and the Republic of China, while the <800> emphasizes the importance of awakening national consciousness among all classes during the war with Japan. The memory of the “Eight Hundred Heroes” repeatedly reproduced on cinema screens served to reinforce ethnic identity between the mainland and Taiwan.

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