本文以復原和完善韓國電影歷史敘述為目的, 針對韓國戰爭時期(1950-1953)的反共電影展開研究。作者試圖通過收集和活用包括韓國電影數據庫(KMDb)在內的相關文獻以及過往新聞和影像資料, 對解放期(1948-1950)韓國反共電影的誕生及之後韓國戰爭時期的發展等相關史實進行集中考察, 並對這一意識形態對立下催生出的特殊產物其內容和形式上的特徵進行批評。在《國家保安法》頒布、公報處在電影審查權利鬥爭中取得絕對主導地位的歷史背景下, 反共電影作為大眾教養和政治維穩工具早在李承晚政權初期便登上歷史舞台。韓國戰爭時期, 受制於人員不足和設備落後, 對客觀條件要求較低的紀錄片成為電影生產體制中的重要一環。通過對極少數現存戰時影像資料中《正義的進擊》的敘述策略進行分析, 可以發現這些再現戰爭實況的紀錄片著眼於推卸戰爭責任、美化美國和李承晚政權以及鼓吹反共意識。反共電影作為意識形態國家機器在反共視角下敘述的失真歷史、客觀存在的真實歷史和國民對於戰爭的集體記憶三者間強行劃上了等號。
This article focuses on tracing the history of Korean anti-communist films during the Korean War for the purpose of recovering and improving the narrative of South Korean film history. By collecting data from the outdated news and films, the author makes an intensive examination of the facts about the production background of anti-communism films during the liberation period and the development during the Korean war. As the National Security Act was promulgated and the Bureau of Public Information gained the dominant position in the fight for the review rights of films, anti-communism films were chosen as a public education tool in the early stage of the Rhee Syng-man regime. Limited by the shortage of professional producers and the outdated equipment during the Korean War, documentaries played an essential role in the film production system. An analysis on the narration strategies of the representative wartime film < An Assault of Justice > shows that these documentaries played a role as Ideological State Apparatus (ISA) for promoting and inciting a particular ideology.