Kim Dae-wol, Head Curator of the House of Sharing

Film researcher Hwang Miyojo sheds light on the documentary film “The Silence” produced by female director Park Su-nam, a second-generation Korean-Japanese. Director Park documented the struggle of Lee Ok-sun, who demanded that the Japanese government apologize and provide compensation, together with 14 colleagues.

More than 10 years after the publication of the picture book “Flower Granny,” which tells the story of Sim Dalyeon, a victim of the Japanese Military “Comfort Women,” author Kwon Yoon-duk released “Yong, Maeng Ho,” the main character of the Vietnam War veteran. What is the story left by the author who has pointed out violence in Korean history through her works?

The Japanese military “comfort women” have been a subject of transnational feminism that criticizes the patriarchy of war and talks about peace and a symbol connected to the unfinished issue, sexual violence against women.

She deals with the issues of how the victimization of women in the post-colonial Korean society is represented, what type of gaze operates here, and what the gaze ultimately strives to see.

Issues raised by the victims of the Japanese military in China - Many people recall the image of an innocent girl who was forcibly taken away by the Japanese military and brutally assaulted. China, at that time a battlefield, was one of the places where such damaging incidents frequently occurred. The Japanese military continuously used brutal violence against Chinese women during the war. They openly took away women to commit sexual abuse across the battlegrounds, occupied areas, as well as urban and rural areas.

A Conversation between Gina Kim and Han Sang Kim

The author – an ethnomusicologist – invites us to listen to “Comfort Women” survivors’ songs as a way to understand their lives and to remember them.

In some way or another, testimony literature must provide its own answer to the question of what to represent and how. So what was the answer found by Kim Soom's novel "One Left" (Hyundae Munhak, 2016)?

the blanks in written language can connect us to the past more powerfully than the original voice, depending on how we relate to the testimonies.