초록
This paper examines Voices of the Silenced (2023), co-directed by Zainichi Korean filmmaker Park Soo-nam and her daughter Park Ma-ui, investigating the formal and ethical mechanisms through which the film transmits historical memory to audiences with no direct experiential connection to its subject. While existing scholarship on Park Su-nam’s work has focused on the politics of testimony and the conditions of speech, this study asks how traces of colonial violence—centering on Korean women subjected to Japanese military sexual slavery—can be received as memory by those outside the survivor generation.
Drawing on Libby Saxton’s reflexive unerasure, Jean-Luc Nancy’s ethics of looking, and Marianne Hirsch’s affiliative postmemory, the paper argues that Voices of the Silenced performs unerasure in three structurally distinct ways: by layering historical erasure, by transmitting the practice of unerasure across generations from Park Soo-nam to Park Ma-ui, and by extending its object from victim testimony to the conditions that make testimony possible. Nancy’s cinema of contact provides the ethical moment through which this formal structure addresses the audience’s body, while Hirsch’s postmemory theory explains how that contact becomes structural cross-generational transmission. The paper further theorizes Park Ma-ui as a ‘witness-child’ - a modification of Hirsch’s ‘hinge generation’ concept - arguing that her mother’s position as a recorder rather than a survivor uniquely enables the film’s expansion from familial to affiliative postmemory. By applying these Holocaust-derived frameworks to Korean colonial trauma, the paper demonstrates their cross-contextual analytical validity while proposing a methodology for memory studies in an era when first-generation witnesses are disappearing.
출처: KCI 논문 상세 페이지