신도 가네토의 영화 『엄마』론 : 원폭피해자와 재일조선인을 중심으로

Abstract

This article examines the issues of Hibakusha and Zainichi portrayed in the film “Mother,” set against the backdrop of post-war Hiroshima. The film “Mom” depicts Hibakusha and Zainichi living in a town in Hiroshima called the Atomic Bomb Slam Street. In the process, Tajima, a Zainichi, gets her husband's status by helping neglected protagonists from the state and their families and accusing them of the Hibakusha issue, which is in the blind spot of the law. Through Tajima, Tamiko, the main character, reflects on her past and establishes the subjectivity to move forward as an ideal mother/people who will realize postwar democracy. This is why the film ‘Mom’ failed to portray their history and reality despite visualizing the presence of Zainichi in Hiroshima. In other words, Zainichi can only be recognized by criticizing the Japanese government's discriminatory and absurd management system against Hibakusha and rescuing those in the blind spot of the law. Despite that, in the film ‘Mom,’ the Zainichi character plays an important role in changing the main character and her son by committing to them. And the cinematic portrayal of him is significant in that it raises questions about contemporary Japanese nationalism, which dismissed Zainichi as ‘invisible’. In other words, the discriminatory Hibakusha management system is challenged in the context of a time when Japan's victim nationalism, symbolized by Hiroshima, was being established and strengthened. In addition, the view of the film “Mom” is valid because it visualizes Zainichi, who is being ruled out, as both a living and cooperative existence in Hiroshima.