Abstract:This article examines films that deal with the Kwangju uprising (1980) as a way to see how popular art forms such as film have the capability to critique state-led violence of human rights. These films played a central role in elevating the once-provincialized history of the democratization movement to a national one, expanding the meaning and effect of the populist struggle. It reviews the progress of cinematic representation of the uprising as both a cultural site of populist resistance and a source of generating a shared sense of community, while problematizing the gendered representation of the people as victims or heroes in these films in order to uncover the silenced voices and to deconstruct the hegemonic notion of the democratization movement as primarily masculine. The gendered representation of the uprising overlooks women's individual experiences such as the post-traumatic stress disorder caused by sexual violence and social isolation—stories which have been silenced. This article argues that, while the 5.18 cinema produced a strong sense of justice and collectivity among Koreans, we can broaden our understanding of the historical implications of the uprising by being attentive to women's experiences in order to produce a strong sense of moral responsibility that will eventually work toward a fuller reconciliation with the past.

中文翻译：

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超越受害者和英雄：跨越性别界限的 5.18 电影：介绍：在文化制作中再现历史创伤的问题

摘要：本文考察了处理光州起义（1980 年）的电影，以了解电影等流行艺术形式如何具有批判国家主导的人权暴力的能力。这些电影在将一度属于省级的民主化运动历史提升为全国性运动、扩大民粹主义斗争的意义和影响方面发挥了核心作用。它回顾了起义作为民粹主义抵抗的文化场所和产生共同社区意识的来源的电影表现的进展，同时对这些电影中人们作为受害者或英雄的性别表现进行了质疑，以揭露沉默并解构民主化运动主要是男性化的霸权观念。起义的性别代表忽视了女性 的个人经历，例如由性暴力和社会孤立引起的创伤后应激障碍——这些故事已被压制。本文认为，虽然 5.18 电影在韩国人中产生了强烈的正义感和集体感，但我们可以通过关注女性的经历来扩大我们对起义历史影响的理解，以产生强烈的道德责任感，这将有助于最终努力与过去更充分地和解。