Assassination marks a new phase of colonial representation in South Korean cinema. To explicate the film’s unique, if not revisionist, view toward the colonial past, this review focuses on an analysis of how the film fleshes out the neglected representational features that have nevertheless constituted the stuff of cinematic history toward the colonial past. In doing so, I move away from the issue of veracity which would inadvertently bog down a serious analysis of popular renditions of history. Instead, I attempt to elucidate the ways in which Assassination adroitly changes the coordinates of antinomy and tension in mapping out the relationship between the colonizer and the colonized, thereby achieving a more complex and nuanced depiction of the colonial experience. Specifically, I situate the subject of collaboration at the center of the film’s analysis as it significantly complicates and relates to other key questions such as perception and appearance, the colonial legacy, and postcolonial politics, as well as symptoms of hysteria and perversion. This review also strives to shed light on the significance of the ethical drive in the film’s reckoning of the colonial and postcolonial nexus. I claim that the film breaks away from the deadlock of many conundrums and thereby promises a more radical Korea’s sociopolitical history hitherto unrehearsed in South Kore-

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透过化装舞会的棱镜：暗杀中的殖民历史

暗杀标志着韩国电影殖民代表的新阶段。为了解释这部电影对殖民历史的独特（如果不是修正主义的）观点，本评论重点分析了这部电影如何充实被忽视的代表性特征，这些特征仍然构成了对殖民历史的电影历史的素材。在这样做的过程中，我摆脱了真实性问题，这会无意中使对流行历史再现的严肃分析陷入困境。相反，我试图阐明暗杀如何巧妙地改变矛盾和张力的坐标，以绘制出殖民者和被殖民者之间的关系，从而实现对殖民经历的更复杂和细致的描绘。具体来说，我将合作主题置于电影分析的中心，因为它使其他关键问题变得非常复杂并与之相关，例如感知和外观、殖民遗产和后殖民政治，以及歇斯底里和变态的症状。这篇评论还力图阐明道德驱动力在电影对殖民和后殖民关系的清算中的重要性。我声称这部电影打破了许多难题的僵局，从而保证了韩国迄今为止从未在韩国排练过的更激进的韩国社会政治历史- 这篇评论还力图阐明道德驱动力在电影对殖民和后殖民关系的清算中的重要性。我声称这部电影打破了许多难题的僵局，从而保证了韩国迄今为止从未在韩国排练过的更激进的韩国社会政治历史- 这篇评论还力图阐明道德驱动力在电影对殖民和后殖民关系的清算中的重要性。我声称这部电影打破了许多难题的僵局，从而承诺了一个更激进的韩国社会政治史，迄今为止，韩国都没有排练过——