The film depicts the trajectory of the film by finding special points shared by the historical contexts of a specific period of the Chung-hee Park regime′s anti-communist art. In particular, the censorship of Korean Central Intelligence Agency, which intervenes in the image of anti-communist films, symbolizes the existence of power and ideology that exists between the image and reality. And the image reproduced by power as an ideology reproduces reality, but paradoxically,...more

The film depicts the trajectory of the film by finding special points shared by the historical contexts of a specific period of the Chung-hee Park regime′s anti-communist art. In particular, the censorship of Korean Central Intelligence Agency, which intervenes in the image of anti-communist films, symbolizes the existence of power and ideology that exists between the image and reality. And the image reproduced by power as an ideology reproduces reality, but paradoxically, image involves with reality. The scene of the massacre, which appears like cliches in the anti-communist movie, affects the reality that the bereaved families of the victims of the massacre, which we forgot. Images no longer exist only as windows that illuminate the world. The window frame that distorts the perspective we see is also a component of the image. Here, you can think about people who create images. What role do creators play between power and ideology? Creators collude with power to produce images for the ideology that power wants, and sometimes record images that they inadvertently witnessed outside power. This indifferent image, which seems to be outside of power, is also influenced by power in a huge hierarchy. <Returning Figures> is a film about images and representation. This film asks a questiless