A Study On The Body Image Of Chinese And Korean "Comfort Women" Films

The "comfort women" were victims of Japan’s military slavery and witnesses of Japan’s crimes in the war of aggression during World War II.Since 1992,China and South Korea have made more than 20 films on the theme of "comfort women" to express their concern about the historical issue,and gradually arouse the awareness and thoughts of the public.At present,the studies on the "comfort women" films about China and South Korea at home and abroad are mainly based on comparative studies and cultural studies,and lack of indepth studies on the commonness of many films about China and South Korea and the movie noumenon.In view of the "body",this paper attempts to regard the "body" as the medium which carries the memory,time,desire,perception,spirit and thought in the movie.The "film body" in the paper refers to the compound film body which includes all kinds of body types in the film space.The "image body" is a kind of "performance body”,“changing body" and "generated body" which are presented after the film technology coding and meet the needs of the characters.The "body image" is the visual image which includes all the gestures,body components and body elements of the actor’s body."Image body" is an important part of "film body",and "body image" is the basis for the existence and presentation of "image body".This paper constructs the research frame by drawing lessons from the western modern film body theory,according to the continuous attention and thinking of the film body subjectivity and inter-body problems among various theories,and emphasizing and affirming the strong creativity,influence and vitality of the "body" in the film.The image body construction of the Chinese and Korean "comfort women" films is explored by the image concept of Gilles Deleuze’s film philosophy,the desire presentation of the image body of the Chinese and Korean films is explored from the perspective of Patrick Fuery’s desire body theory,and the interaction and meaning generation between the image body and the audience body in the screen space of the Chinese and Korean films are explored from the perspective of the film phenomenology theory respectively in this paper.And this paper launches the discussion about the Chinese and Korean movie image body’s ideographic function according to the above research.This paper is not only a new attempt to study this type of film,but also a review and remembrance of the common traumatic memory between China and South Korea,and a humanistic concern for the comfort women victims.The paper is divided into four chapters: The introduction of the paper,which mainly explains the research background,the definition of the relevant core concepts,the review,the research problems and significance of the research status at home and abroad and the research innovation;Chapter I explores the relationship between Chinese and Korean body image and the generation and presentation of "time-image",and analyzes how the body image seeks,reproduces and witnesses traumatic memory,the relationship between the body image and the time cycle of memory,and how the film expresses the "potential" of the body image from the two parts of "memory-image" and "crystal-image";Chapter II explores the body image "desire" in Chinese and Korean films,and analyzes the construction and presentation of the film "desire body" and the multiple meanings of the body relationship between the characters from the two aspects of "the perpetrator’s desire for the body" and "the victim’s desire for the body";Chapter III is the continuation of the previous two chapters to analyze the phenomenal landscape and perceptual ideographic representation of the body in Chinese and Korean film images.This paper analyzes the function and meaning generation of "perceptual interaction" caused by the body image from the aspects of tactile vision,optical vision,tactile sound,and cross-cultural viewers.This paper analyzes the ideographic function of Chinese and Korean body image to film narrative and the similarities and differences of Chinese and Korean film creation tendency from the performance and change process of body image attitude;Chapter IV summarizes the reflection and enlightenment of the study of Chinese and Korean body image,hoping to provide reference for the creation of the same themed film image in Northeast Asia,and also provide a new perspective for the study of the same type of body image.