유기와 봉쇄 : 2000년대 한국 독립영화 속 북한 재현

Abstract

In the 2000s, the imagination of the division of Korean society escaped the Cold War recall narrative that repeatedly summoned the Korean War. It began to expand into contemporary horizons. <Boundary City>(Hong Hyung-sook, 2002) and <Boundary City 2>(2010) are works based on ‘North Korean intellectuals’. Here, the person who comes into contact with North Korea appears as an ‘in-between’ with uncomfortable infectious power. Since 2010, debates on National Security Law and freedom of expression have subsided, and feature films of North Korean refugees have begun to emerge. The independent short film <The End of The Road>(Park In-je, 2003) and <A Boy With The Knapsack>(Jung Ji-woo, 2003) showed ethical camera work and realistic observations and capitalist social maladjustment of the North Korean refugee. The independent feature film <Hello, Stranger>(Kim Dong-hyun, 2007) and <Musanilgi>(Park Jung-bum, 2010) have overlaid the identity of defectors and migrant workers. The film is an experimental technique in which sex marginalists and prostitutes show off the space between legal and illegal boundaries. North Korean youth showed off their backpacks, which were able to migrate and leave. Motorcycles were a means of labor, escape, and transcendence. Refugees often come out of their identity through confessions. This characteristic was highlighted in the film where the sexual minority overlapped with the identity of the refugee. It is frequently found that North Korean refugees are identified with socially disadvantaged being (foreign workers, abandoned animals, etc.) in South Korean society. These films are then transformed into independent films that feature social minorities such as runaway teenagers, homelessness, and LGBT and minority groups. Reproducing North Korean refugee films are an emotional reaction to the economic isolation and emotional blockade felt by Korean society members, especially the younger generation. These films are a reflection of the reality that the Korean independent film industry has lost the energy of vanguard and resistance and is surrounded by the internal impulses of self-compassion and compassion.