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Taiwanese Film “Paradise in service”: The Space of “Special Tea House” and the Politics of Women Reproduction

  • The Journal of Chinese Cultural Studies
  • 2018, (39), pp.221-240
  • DOI : 10.18212/cccs.2018..39.010
  • Publisher : The Society For Chinese Cultural Studies
  • Research Area : Humanities > Chinese Language and Literature > Chinese Literature > Chinese Culture
  • Received : January 15, 2018
  • Accepted : February 15, 2018
  • Published : February 28, 2018

Shin-dongsoon 1

1숙명여자대학교

Accredited

ABSTRACT

The film rebuilds the historical consciousness through the expression of the military paradise and women, and re-interweaves the history of “Special Tea House”. The film reproduces the space and women of “Special Tea House”. War and violence replaced by Paradise in Service. The film shows that women here are liberated from the ideology of state and masculinity. These emancipation is not real liberation, but fake liberation. People portray the history of women in ‘Special Tea House’, but differ from each other. Some think they came voluntarily, and some think that the system and ideology have forced them, suppressed them and cheated them. The film rationalizes and legitimates these spaces and women through the reproduction of space and women. Although women’s violence and military violence are shown, A central figure for the dissolution of this violence is the male and the State system. Ending subtitles are as follows. “In 1951, the army set up a ‘special tea house’ in the army to address the physiological needs of hundreds of thousands of soldiers. Also known as “Paradise in Service” or 831. With the improvement of bilateral relations in 1990, Taiwan reduced its military power and the legislature considered it a violation of the human rights of women. Ministry of Defense decided to withdraw ‘Special Tea House’.” The government officially identified these spaces as violating women’s human rights. But, The director defines the women there as ‘sex workers’. These views have hidden the history of women in ‘Special tea House’ and even politically removed the ‘comfort women’ history of Japanese colonialism.

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