청춘잔혹물어, 재일한인영화의 디아스포라와 탈식민지 저항
Cruel Days of Youth, Korean Japanese Cinema`s Diaspora and Postcolonial Resistance -Focusing on Go, Blood and Bones, We Shall Overcome Someday-
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Go(2001), Blood and Bones(2004), and We Shall Overcome Someday(2004) won prizes at film awards in Japan. These films have supplied various issues about Korean diaspora in Japan to Korean audience. These three films adopted Korean-Japanese's true-life dramas as subject matters, and suggested interestingly various issues regarding Korean diaspora. Korean Japanese cinema is absolutely nutritious elements to diversify and enrich Japanese cinema. But, Korean-Japanese cinema also expands Korean cinema beyond its border as a national cinema. Therefore, we should watch again Korean-Japanese cinema right now with a view point in which Korean cinema has to be formed under more careful consideration and reflection from a racial, national, and class diversified situation. Now, we witness postcolonialsim, having gone through a typhoon of war and assimilation by Japanese during Japanese imperialism, and another hurricane of Japanese militarism, national liberation, national division, and Cold War. I will explore how Korean-Japanese cinema brings up a vision, asking cultural identity under the circumstance of postcolonialism. Go, Blood and Bones, and We Shall Overcome Someday made by Korean-Japanese filmmakers have Korean-Japanese main characters on their narratives. Therefore, these films present Korean-Japanese's vivid living conditions very realistically. I will examine what these films have historical values on film of the present time in this article.
Abstract
Go(2001), Blood and Bones(2004), and We Shall Overcome Someday(2004) won prizes at film awards in Japan. These films have supplied various issues about Korean diaspora in Japan to Korean audience. These three films adopted Korean-Japanese's true-life dramas as subject matters, and suggested interestingly various issues regarding Korean diaspora. Korean Japanese cinema is absolutely nutritious elements to diversify and enrich Japanese cinema. But, Korean-Japanese cinema also expands Korean cinema beyond its border as a national cinema. Therefore, we should watch again Korean-Japanese cinema right now with a view point in which Korean cinema has to be formed under more careful consideration and reflection from a racial, national, and class diversified situation. Now, we witness postcolonialsim, having gone through a typhoon of war and assimilation by Japanese during Japanese imperialism, and another hurricane of Japanese militarism, national liberation, national division, and Cold War. I will explore how Korean-Japanese cinema brings up a vision, asking cultural identity under the circumstance of postcolonialism. Go, Blood and Bones, and We Shall Overcome Someday made by Korean-Japanese filmmakers have Korean-Japanese main characters on their narratives. Therefore, these films present Korean-Japanese's vivid living conditions very realistically. I will examine what these films have historical values on film of the present time in this article.
참고문헌 (10)
- 강덕상 엮음, "근현대 한일관계와 재일동포" (2002), 서울대학교출판부
- 고부응 엮음, "탈식민주의 이론과 쟁점" (2003), 문학과 지성사
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- 프란츠 파농, "검은 피부,하얀 가면" (1998), 인간사랑
- Chariandy, "Postcolonial Diasporas", Postcolonial Text, 2(1) (2006)
- Dirlik, "The Global in the Local" (1996), Duke University Press
- Gilroy, "The Black Atlantic:: Modernity and Double-Consciousness" (1993), Harvard University Press
- Laclau, "Emancipations" (1996), Vesro
- Tölölyan, "The Nation-State and Its Others: In Lieu of a Preface", Diaspora: A Journal of Transnational Studies (1991)