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1981
Volume 35, Issue 1-2
  • ISSN: 1059-440X
  • E-ISSN: 2049-6710

Abstract

This article analyses two South Korean feature films representing the traumatic memories of the ‘comfort women’ – (2016) and (2014). While both of these films share some thematic and stylistic similarities as depictions of the sexually enslaved women by Imperial Japan during the Second World War, there is a crucial contrast in their narrative structure. This article analyses as a fiction whose narrative structure conforms to Amsterdam/Bruner’s conservative account, while illustrates Strejilevich’s account of victims’ stories that defies traditional narrative conventions. Although both films find creative ways to disseminate the once-silenced stories of the victims and hold different sociocultural meanings, this analysis suggests highlights a distinctive intergenerational remembrance of the ‘comfort women’, which eschews dominant nationalistic discourse.

Funding
This study was supported by the:
  • St. Joseph’s University’s
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/content/journals/10.1386/ac_00075_1
2024-08-02
2025-05-13
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