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일제 강점 말기 조선주둔일본군의 조선인 포로감시원 동원과 연합군 포로수용소 운영
조건 한국근현대사학회 2013 한국 근현대사 연구 Vol.67 No.-
The Japanese colonial government placed prisoner-of-war (POW) camps inGyeongseong(京城), Inchon(仁川) and Heungnam(興南) in Korea. The Japanesearmy captured British, American, Australian and Dutch soldiers, about 120,000in all, during the Second World War, and interned them POW camps placednot only in Southeast Asian countries but in its own country, Taiwan, Chinaand Korea. It mobilized warders from among Koreans and Taiwanese. Approximately 3,200 Koreans were mobilized to guard captives, about 3,000 ofwhom were assigned to camps in Southeast Asian countries. The others, about200, were assigned to camps in Korea. POW camps in Korea were governed by Noguchi(野口), commander of thetraining battalion for civilians attached to the Japanese military, together withofficers dispatched to Korea. They interned 998 Caucasian captives transferredfrom Singapore with intent to propagate the colonialist ideology all over Korea. In Korea in those days, there were a total of 3 POW camps including a branchcamp placed in 1943 in Heungnam. The main points of POW camps in Korea may be summarized as in the following:First, they can be regarded as a means of colonization. Second, they were placedin the noncombat zone for the purpose of overseas publicity. Lastly, Korean POWGuards were also the victims of compulsory mobilization. The allied prisoners were mostly forced to do hard labor. In Gyeongseong,they did odd jobs around the Japanese Army Headquarters in Korea or carriedits packages. In the Inchon branch, they were mobilized for constructions around the harbor and factories. In Heungnam, they served in a Japanese plant producingnitrogenous fertilizer(日本窒素肥料). With time, meanwhile, changes occurred in the number and nationalities ofallied soldiers captured by the Japanese army. When they arrived in Busan, Korea,British soldiers accounted for the highest percentage, and there were a small numberof Australian soldiers. American soldiers captured in Japan, in the meantime, weretransferred to Korea in April, 1945, and captive soldiers in Korea were transferredto Manchurian areas including Fengtian(present, Shenyang). When captive soldierswere released, about 690 remained in POW camps in Korea. It is presumed that Korean POW Guards were discharged with the end ofthe war. However, not much is known about their exact number and whereabouts. In this study, the list of 91 warders was found in ‘The Guard List’ made bythe Japanese army, which is highly significant in that it first gave a clue to theexact state of Korean POW Guards who served in POW camps in Korea.
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조건 역사와교육학회 2019 역사와 교육 Vol.29 No.-
Choi Yong-shin who died in 1935 has been reproduced in various ways. She was drawn as a heroine in Sanglogsu(Evergreens) written by Shim hoon and reproduced in movies and dramas thereafter. On all such occasions, Choi Yong-shin is like original Choi Yong-shin and in the other cases she became Choi Yong-shin reflecting the recognition of the contemporary time. Choi Yong-shin has been changed to be drawn tailored to the necessity in the time and situation. Shim hoon tried to make a move of his novel. He wrote a film script right after writing his novel and contacted potential film company and actors and actress to make a film. But it was in 1961 when Sanglogsu was filmed by Shin Sang-ok. Director Shin Sang-ok reproduced a scenario of Sanglogsu by Shim hoon exactly. It was judged as having the intention of being faithful to the original story of Shim hoon. Secondly Sanglogsu was filmed by Director Lim Gwon-taek in 1978. He gave a lot of changes in the characters of Dong-hyuck and Yong-shin while keeping the original script. In particular the director emphasized masculinity shown in Dong-hyuck and displayed a tendency of highlighting Yeong-shin's Femininity. Yeong-shin in the movie of ‘Shinglogsoo’ in 1961 and 1978 which is seen in this writing is similar to Yeong-shin drawn by Shim hoon but meanwhile was drawn as an individual identity. While Yeong-shin in 1961 film is similar to Yeong-shin in Shim hoon's novel, Yong-shin in a movie in 1978 was reproduced as different identity. As a result, original Yong-shin, Yeong-shin in a novel by Shim hoon and Yeong-shin drawn in a 1978 move are different in various ways. This different appearance of Choi Yong-shin appears related to real one but she can be expressed differently according to the demand of reproduced contemporary time. The reproduction of Choi Yong-shin in 1960s and 1970s respectively happened in the way the contemporary society wanted. Accordingly when looking at Yeong-shin in each time, it is impressive in that we can identify our recognition and social aspect. 1935년 세상을 떠난 최용신은 이후 다양한 방식으로 재현되어 왔다. 우선 심훈이 소설 상록수 속 여주인공으로 그렸고, 이후 영화와 드라마 등에서 거듭 구현되었다. 그때마다 최용신은 원래의 최용신이기도 했고 당대의 인식을 반영한 채영신이기도 했다. 시대와 상황은 그 필요에 맞게 원래의 최용신을 변용해서 그렸던 것이다. 심훈은 애초부터 자신의 글을 영화화하려고 하였다. 소설 집필 직후 바로 시나리오를 작성했고, 영화화를 위해 영화사와 배우 등을 섭외하기도 했다. 그러나 상록수 가 영화화된 것은 1961년 신상옥 감독에 의해서였다. 신상옥 감독은 심훈의 시나리오 「상록수」를 거의 그대로 재현하였다. 다분히 심훈의 원작에 충실하려는 의도가 있었던 것으로 판단된다. 두 번째로 상록수 를 영화화한 것은 1978년 임권택 감독이었다. 그는 기존 원작의 틀은 유지하면서도 동혁과 영신의 캐릭터에는 많은 변화를 주었다. 특히 동혁의 남성성을 더욱 강조했고, 영신의 여성성 역시 강화되는 경향을 보인다. 이글에서 살펴본 1961년과 1978년 각각 상영된 영화 ‘상록수’의 영신은 자못 심훈의 영신을 닮았으면서도 또 한편 그와는 별개의 인격체로 그려지기도 했다. 1961년이 그나마 심훈의 영신과 유사하다면, 1978년의 그녀는 사뭇 다른 사람으로 재현되었다. 결과적으로 원래의 최용신과 심훈의 소설 속 영신, 그리고 1978년의 영신은 여러 면에서 차이를 보인다. 이렇듯 달라지는 최용신의 모습은 애초 그녀의 실제 모습과 관련지어 나타나기도 하지만, 재현되는 당대의 요구에 따라 달리 표현되기도 했다. 1960년대와 1970년대 최용신의 재현은 곧 당대 사회가 원하는 방식으로 이루어졌다. 따라서 각 시대별 영신의 모습을 살펴보면, 당시 우리의 인식과 사회상을 파악할 수 있게 된다는 점에서 시사하는 바가 크다.
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