Abstract
This article examines the way that cinematic mnemonics of 1960s South Korean films ciphers the heterogeneous and conflicting experiences regarding two entangled wars: the Korean War and the Cold War. In a close reading of Kim Suyong’s Mist (An’gae, 1967) and Yi Sŏnggu’s The General’s Mustache (Changgun ŭi suyŏm, 1968), the article argues for the multifaceted aesthetics of Cold War mnemonics, which illuminates a binding and unbinding technology of affective memories in which the traumatic experience of the Korean war parallels the dominant narrative of Cold War historiography. In Mist and The General’s Mustache, historical trauma and the experience of loss take up important positions in relation to melancholic landscape and mnemonic devices. Visualizing the interstice between melancholy and mourning, between memory and history, and between landscape and interiority through the devices of flashback, widescreen, montage, and metanarrative structure, the exploration of mnemonic technologies is inextricably linked with the postwar Korean subject’s dual efforts to remember historical loss and to incorporate shameful memories. While Mist shows the male protagonist’s short visit to his countryside hometown, during which he is troubled by memories of the past and, thus, his encounter with the unfinished work of mourning, The General’s Mustache, beginning with a photojournalist’s suspicious death, assembles the fragmentary pieces of modern Korean history’s secrets through multiple frames of testimony and confession. Produced during the time of Cold War turmoil as well as at the height of global modernization, these films release alternative thinking about time, memory, and history, asking us to remember what is left behind in Cold War historiography.
Two Land Reforms and the Cold War: The Change in the Land Ownership Structure in the Inje Area Representing One of the Reclaimed Districts North of the 38th Parallel before and after the Korean War