중일 인민연대와 탈/냉전 문화이동 -― 望鄕 과 追捕 의 중국 수용과정을 중심으로 = The Solidarity of Chinese and Japanese People and Post/Cold War Cultural Mobility - Focusing on the Chinese Reception of Sandakan No.8 and Arrest

다국어 초록 (Multilingual Abstract)

By focusing on the Chinese reception of the two Japanese films,Sandakan No.8(望郷, サンダカン八番娼館) and Arrest(追捕, 君よ愤怒の河を渉れ), this article examines the historical contexts and ramifications of this cultural transfer as a meaningful sign of the start of the post-Cold War in the Asian region. China used to promote the exchange of Chinese and Japanese people even during the Cold War era by carrying out the policy of the people diplomacy that emphasized separation of Japanese people from the Japanese government. The Japanese Film Week in China in 1978,held to celebrate the effectuation of the Sino-Japanese Treaty of Peace and Friendship, was one significant result of this exchange.
Thanks to the people diplomacy, the Japanese films screened during the Japanese Film Week were received positively by Chinese audiences, despite China’s anti-Japanese sentiments resulting from its experience of Japanese imperialism and the Cold War. Among the Japanese films screened, Sandakan No.8 and Arrest were enthusiastically consumed by the Chinese and became cultural icons afterward that reflected Chinese society of the 1980s.
Various happenings and intellectual debates on the rather revealing sexual scenes of Sandakan No.8 to provocatively claim individual autonomy towards sexuality bring the effect of confrontation against the state. Similarly the identification with the protagonist of Arrest by Chinese audience resulted in subversion of existing socialist gender norms and subsequently the creation of new femininity and masculinity constructs the antagonism towards the state. The confrontation against the state, expressed indirectly through sexuality and gender, was developed into the criticism of socialism and, accordingly, formed renewed Cold War thoughts and was combined with strong nationalism that raised the issue of Japan’s accountability for its imperialist past. This is a paradox because the success of the solidarity of Chinese and Japanese people brought about negating the grounds of this solidarity. As such, the Chinese reception of Sandakan No.8 and Arrest discloses the issue of non/representativeness of the relationship between the state and the people and the existence of discrepancy in the logics of the Cold War and nation-state. In this sense, the reception processes of the two films trigger to consider the complicated formation of the post/Cold War brought about by the intertwine of the logics of the Cold War and nation-state.

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