数字修复与国家记忆 — 中韩动画再生产的媒介考古比较

초록

With the rapid development of digital technologies, film restoration has gradually shifted from traditional optical and chemical methods to digitized workflows centered on high-resolution scanning, color correction, and sound re-recording. In both China and South Korea, the digital restoration of animated films has become an increasingly significant cultural practice, playing a crucial role in the construction of national cultural memory, the updating of media technologies, and the rewriting of animation history. Taking classic animation restoration projects from China and South Korea as core case studies, this article examines how digital restoration reshapes the historical referentiality and cultural-political meanings of animated images through an integrated analysis of restoration discourse, technical practices, and audience reception.Drawing on the perspective of media archaeology, the study conceptualizes restoration not as a neutral act of recovery, but as a contemporary operation that actively intervenes in history. It highlights the complex entanglements of technological redrawing, media reproduction, and national narratives embedded in restoration practices. The analysis demonstrates that while both countries mobilize digital restoration to reactivate animated film heritage, they do so through divergent institutional logics and cultural orientations: Chinese restoration practices tend to emphasize technical recovery and the re-presentation of canonical classics within a cultural heritage framework, whereas Korean restoration places stronger symbolic emphasis on questions of national origin, memory retrieval, and the reconstruction of cultural subjectivity.Through this comparative approach, the article reveals both shared mechanisms and structural differences in the role of digital restoration as a form of cultural re-production in the East Asian context, offering new theoretical coordinates for understanding the re-mediation of animated images in the digital era.

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