일본 역사 드라마: 논란과 문화적 함의

### 일본 역사 드라마의 복잡한 관계와 그 문화적 함의
* 🎭 현대극과 사극을 막론하고 한국 드라마는 전 세계적으로 인기를 얻고 있으며, 일부 중국 시청자들은 **역사적 정확성을 무시하고 드라마의 서사**를 따라가기도 합니다.
* 📺 2001년 11월 10일 방영된 일본 사극 '쇼토쿠 왕자'는 **일본이 백제의 영향을 받던 6세기 후반**을 그린 작품으로 역사적 사실에 충실한 작품으로 유명합니다.
* 😟 높은 제작 퀄리티와 좋은 시청률에도 불구하고 많은 일본 시청자들은 **이러한 역사 고수**로 인해 불편함을 느꼈고, 이는 반발을 불러일으켰습니다.
* 👑 2001년 아키히토 일왕이 **어머니의 혈통이 백제 무령왕으로 거슬러 올라간다는 발언**은 일본 국민에게 큰 충격을 주었고 고대 한국과의 관계에 대한 문화적 금기를 깨뜨렸습니다.
* 📰 이 폭로는 한국 언론에서는 널리 보도되었지만 일본에서는 거의 주목을 받지 못했는데, 이는 **불편한 역사적 진실을 외면하는 경향**을 나타냅니다.
* 🎬 2012년 드라마 '타이라노 키요모리'는 귀족의 삶을 묘사하려 했으나 **시대의 현실을 정확하게 표현하지 못해 역사적 인물 묘사에 대한 비판**에 직면했습니다.
* 🗣 일본이 현대사를 다룬 사극 제작을 꺼리는 이유는 **과거를 마주하는 것에 대한 두려움**과 **제국주의 서사에 대한 대중의 반대 가능성**에서 비롯됩니다.
* 📉 그 결과 일본 대중은 자신들의 역사적 복잡성을 거의 인식하지 못하고 있으며, 종종 **부정적인 묘사를 일축**하고 **문화유산에 대한 비판적 토론을 피**하고 있습니다.

일본 사극은 종종 역사적 정확성을 무시하고 불편한 진실에 직면하기를 꺼리는 문화적 특성을 반영하여 논란을 불러일으키기도 합니다.

Hello, let's begin. Korean dramas are not only modern dramas but also historical dramas that are gaining worldwide popularity. In fact, in China, there are instances where they completely ignore historical accuracy and directly follow Korean historical dramas. However, Japanese historical dramas often stir up a lot of controversy. The reason Japanese historical dramas are always a topic of debate can be summed up in one point: the portrayal of the prince. Please respond in the Baekje language. From now on, you must also speak in the Baekje language in this context. The drama Prince Shotoku, which starred actor Seol Kyung-gu and became a hot topic, aired on NHK on November 10, 2001, and is a special drama consisting of two episodes. The drama depicts the late 6th century. At that time, Japan was heavily influenced by Baekje, and the drama showed a thorough commitment to historical accuracy, which surprised many people. To a Korean viewer, it seemed as if Baekje...

It is easy to mistake this drama for one set in the background, and it has been evaluated as quite well-made, achieving good ratings. However, many Japanese viewers found the content of the drama uncomfortable. The reason for this discomfort stems from the show's strict adherence to historical accuracy, which sparked backlash among the Japanese public. 

On December 12, 2001, Emperor Akihito, who turned 68, made a statement that deeply unsettled the Japanese people. He mentioned that his mother, Princess Nagako, was a descendant of King Muryeong of Baekje, which led him to feel a connection with Korea. The fact that the Japanese imperial family has ties to ancient Korea is considered a taboo in Japan. By breaking this taboo, he shocked the Japanese archipelago. 

While this news was widely reported in the Korean media, it only appeared in the Asahi Shimbun in Japan, with little coverage from other media outlets.

Everyone maintained silence. When historical facts are mentioned in Japan, they tend to be ignored. Let me give you another example from a Japanese historical drama. In 2012, LG Kale ambitiously produced and aired a large-scale historical drama set in the early 12th century during the Heian period, titled Taira no Kiyomori. First, let's take a look at a scene that you might commonly see. The eyebrows are raised significantly above the forehead. Women also follow the same makeup style without exception. They even went so far as to blacken their teeth. At that time, the drama production team required the female cast members to blacken their teeth as well, but due to strong opposition from the female cast, this was only implemented for the male cast members. Furthermore, as time passed during the filming, the black paint wore off, and later they performed with black mouthpieces. This makeup style, known as kogao, is quite remarkable.

It continued until the Meiji period. In short, it disappeared as Western culture was embraced. This is how the aristocrats are portrayed in the drama, not beggars. These are the images of ordinary farmers. They are not able to properly depict the situation. The appearance of the wealthy in the drama is very plain. The art of metalworking only appeared in the 16th century in Japan. This drama, which had a high production cost, recorded the lowest viewership ratings and ended early. In the end, viewers felt a sense of rejection towards this portrayal and expressed their displeasure. Ironically, it was criticized for being too thorough in its historical accuracy. Japan has not only neglected dramas dealing with ancient and medieval history but also those about modern history. Historical dramas set after the Meiji Restoration have rarely been aired on Japanese television. For example, after the Meiji Restoration, the clothing of figures like Saigo Takamori was...

Okubo Toshi could have been featured at least to some extent, but these two have never appeared together in any other program. In Japan, the theme of historical dramas is primarily focused on the 19th century. When Japanese people see figures like Ito Hirobumi or Fukuzawa Yukichi in Korean dramas, they are often surprised. The reason for this phenomenon in Japan is, of course, due to historical issues. The notion that Japan is the center of three nations, while countries like Korea and China are merely barbaric, is not a modern development. This worldview began to form around the 17th century and, as modernity progressed, evolved into the claim that Japan is the most superior and the best in the world, following Fukuzawa Yukichi's ideas. Looking back through history, Japan imported all its culture from Korea and China. In other words, the roots of Japanese culture lie in Korea and China. Therefore, Japanese people have a considerable amount of admiration for Korea.

Cultural inferiority complex is something that Japan possesses, and it arose as a reaction to Korea at 10 o'clock. The core of Japanese idealism is not cultural theory but political theory. In other words, in Korea or China, the king is not seen as the biological parent of the people, so revolutions can overthrow dynasties at any time. However, in Japan, the people are seen as having the same bloodline as the emperor, which means that revolutions do not occur, and historically, there has never been a change in the imperial bloodline or a disruption of the center. This claim constitutes a key part of the argument that places Japan at the center of the world. Here, we can find the basis for Japan's attempt to reposition Asia through military force. Japan put this worldview into practice with the beginning of the Meiji era. Although Japan's logic for Asian invasion was rooted in Korean nationalism, it has been used to rationalize its invasions.

The logic that was once presented has never been subjected to deep and serious criticism. Rather, Japan claims to be the victim and has turned Korea into the perpetrator. After the defeat, the Emperor's declaration of humanity was something that ordinary people remembered hearing, but they rarely had the chance to see the original text of that announcement. As a result, the Japanese people do not understand the core issues of the past at all. If Japan were to produce a proper historical drama, the public would objectively review history, leading to questions about the foundation of the emperor's establishment. There are concerns that when national consensus divides, the country will fall into crisis. In particular, if the history of Japan from the first year of the Meiji era in 1868 to the promulgation of the Meiji Constitution in 1889 is covered in a TV drama, many Japanese people would become aware of the arbitrary processes involved in its creation.

The Japanese elite fears this the most. For this reason, Japan is particularly reluctant to produce historical dramas, especially those dealing with modern history. The lack of dramas addressing Japan's modern history is discussed in part of Kosaka Ugi's Japan Turned Upside Down. However, if you think about it, the current Japanese public has been so thoroughly brainwashed that even when faced with historical facts, they tend to ignore the truth if it presents negative aspects about themselves. Even if a drama were to be made that covers the Meiji period in detail, the Japanese public would not awaken to history; instead, they would likely criticize the broadcasting station that aired the drama and the actors who participated in it. Broadcasting companies are probably aware of this, which is why they no longer produce dramas that are meticulous in their historical accuracy, just as Japan has done until now.

They will continue to deny and hate their shameful past.

일본이 더 이상 역사 드라마를 안 만드는 이유.

일본과 세계에 대해서 이야기 합니다.

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한국과 일본 역사 드라마의 영향력

한국 사극이 전 세계적으로 인기를 얻고 있는 가운데, 일부 중국 제작사들은 이를 따라하기 위해 역사적 정확성을 무시하고 있습니다.

일본 사극, 특히 쇼토쿠 왕자는 역사적 정확성을 엄격하게 고수하여 시청자들의 불편함을 초래해 논란을 일으켰습니다.

아키히토 일왕의 한국 무령왕과의 관계에 대한 발언은 일본 국민들에게 더욱 큰 충격을 주었으며, 일본 황실과 고대 한국과의 관계를 금기시하는 태도를 부각시켰습니다.

일본 사극은 19세기에 초점을 맞추고 고대와 현대사를 소홀히 하는 등 과거를 정확하게 묘사하는 데 어려움을 겪어왔습니다.

최근 고예산 드라마는 철저한 역사적 정확성과 낮은 시청률로 비판에 직면했는데, 이는 이러한 묘사에 대한 시청자들의 거부감을 반영한 것입니다.

주변국보다 우월하다고 여기는 일본의 역사적 세계관은 한국과 중국의 영향을 받았음에도 불구하고 17세기에 그 뿌리를 두고 있습니다.

일본의 문화적 열등감과 역사적 관점

일본의 문화적 열등감은 한국에 대한 대응으로 나타났으며, 일본의 정치 이론은 국가의 이상주의를 형성했습니다.

일본 천황과 국민 사이의 독특한 혈통적 연결은 역사적으로 혁명과 왕조의 변화를 막아왔습니다.

한국 민족주의에 뿌리를 둔 일본의 군사 주도의 아시아 재편 시도는 침략을 합리화하는 데 사용되었으며, 일본의 피해자 서사는 일본의 역사적 행동을 모호하게 만들었습니다.

역사 드라마 제작에 소극적인 일본

일본 엘리트층은 드라마에서 현대사를 다루는 것을 두려워하여 그러한 작품이 부족합니다.

일본 대중은 자신에 대한 부정적인 역사적 사실을 무시하는 경향이 있어 드라마가 경각심을 불러일으키기 어렵습니다.

방송사들은 역사적으로 정확한 드라마 제작을 중단하면서 일본의 부끄러운 과거를 부정하는 분위기가 지속되고 있습니다.