https://twitter.com/yuandundun/status/1774462239703208085
「731部隊」を描いた韓国ドラマから日本人は何を学ぶか
https://news.yahoo.co.jp/articles/bb57ffa223de9c412cf8d4491cd1d082aa92d251
「単に植民地として支配していたから加害者になっているというだけではなく、植民地やその土地の人々に対する優生思想、要するに日本人より劣った中国人や朝鮮人には人体実験をしてもいいという考えがあったと思います」
https://www.huffingtonpost.jp/entry/story_jp_65c5dac4e4b0fb721d609619
"旧日本軍による人体実験や拷問などが描かれていたため、日本国内からは「反日ドラマ」との声もあがった。しかし、ドラマ内での旧日本軍の描かれ方については、ドラマを全話観た上で、加藤さんは以下のように話す。
「韓国の人たちは、なぜ日本人をこのように描き、このドラマで何を訴えようとしたのかということについて考えてほしい。『なぜ』という疑問を持ち、深めていくことで相互理解にも繋がるのではないかと思う」
731部隊については2002年、中国人被害者らが起こした国家賠償請求訴訟での東京地裁判決で生物兵器の開発や研究、細菌戦の事実が認定されている。
司法でも、生物兵器の開発・研究・細菌戦の事実が認められている状況にも関わらず、日本政府は政治的な理由から「資料が確認されていない」として、公式には人体実験を認めない姿勢を示している。
731部隊はハルビンにあった施設を去る際に、建物を爆破しており、部隊員によって持ち出された数少ない資料以外には、情報源となるものがあまり残っていない。"
annyeongari.substack.com/p/why-gyeongseong-creature-got-so-poorly
Why Gyeongseong Creature Got So Poorly Reviewed in Korea
"After the series hit the streamer on Dec. 22, something strange happened in my country. Korean media showered curse-level negative reviews about the series, and malicious comments criticizing or even condemning the series and its lead actors fill the internet"
https://annyeongari.substack.com/p/why-gyeongseong-creature-got-so-poorly?triedRedirect=true
"The stark difference between the response of the global audience and the Korean audience and media lies in another dark history of the country.
During the colonization era, while activists who fought for the country's independence faced consequences such as imprisonment, torture, or even death, traitors, or those who collaborated with the occupying force to exploit Koreans, lived a comfortable life, becoming rich and elite. Unfortunately, it was those collaborators who grabbed the power of the new government after independence, not the liberation activists. As a result, the traitors didn’t get punished for their betrayal, and the activists continued to live a miserable life.
And it hasn't changed much even now"
How the Real History Behind Netflix’s Gyeongseong Creature Shapes Its Horror
https://time.com/6549173/gyeongseong-creature-real-history-netflix/
"While Gyeongseong Creature is a fictional story, it takes its historical setting seriously. “There was a lot that we paid attention to in trying to recreate what old Seoul was like back in 1945,” director Chung Dong-yoon tells TIME, through a translator, during a conversation with press"
Japan annexed Korea in 1910, occupying the peninsula until 1945, when the Axis powers lost World War II. Gyeongseong Creature is set roughly six months before Japan’s surrender. “Before Japan was defeated, a majority of Koreans lived miserably,” Su-kyoung Hwang, a lecturer in Korean Studies at the University of Sydney, tells TIME.
“Ordinary Koreans were subjected to an aggressive assimilation project under the naisen ittai. They had to worship in Japanese Shinto shrines, recite an oath to pledge their loyalty to the Japanese Emperor, [and] change their names into Japanese. [They] were subjected to extraordinary censorship and loss of freedom.”
When Japan entered World War II in September 1940, Koreans too were “thrown into the wartime chaos and cultural policies,” says Hwang. Young Korean men were forced to enlist in the Japanese military, and tens of thousands Korean girls and women were forced into sexual slavery, becoming “comfort women” for the Japanese military. Others were sent to work in Japanese factories and mines, says Hwang, or starved due to Japan’s wartime rice extraction.
Those who dissented, fighting for Korean independence, faced consequences such as imprisonment, torture, or death if caught.
This is why there are critiques to be wary of distorting history by leaning too much towards spectacle in historical content.”
まとめると、ジャパンの皆さんは自分達が昔っからいい人達であり、太平洋戦争もアジアをヨーロッパ列強の植民地から解放する正義の戦いだったと本気で信じてる人々もいるようなんですが。
世界の人々からしてみればインペリアルジャパンはナチスジャーマニーと同じであるか更に酷いものであり、更には自分達の悪行を隠蔽するためにに攫った人々を殺し証拠隠滅した鬼畜のような人々なんですよ、というのはもうコンセンサスなので。
フィクション交えた韓国ドラマで普通の日本人の皆さんが沸き上がれば沸き上がるほど逆説的に証拠隠滅と被害者プレイが浮き上がってしまうので、恥を知る日本人の皆さんは止めた方がいいんじゃないでしょうかね、という。
まあ個人的にはどんどんやれと思う。
Of course, when representing complex, real-life history in media, there is always a risk of prioritizing entertainment value over faithfulness to the lived experience of real people. “There is also room to criticize the attitude of overly spectacularizing in history representation,” says Lee. “Even if it plays a role in enhancing the identity of a nation-state, visual media such as dramas and movies are basically a medium that does not allow us to keep an objective distance.