영화 <미나리>에 나타난 디아스포라의 문제적 징후들과 내포된 담론들

Abstract

The movie Minari, known as the autobiographical migration narrative of the Korean American director, was well received by Korean audiences and American audiences along with the news of the Korean actor's Academy Award. In this film, the struggle of the family with despair and hope in the exotic and idyllic American landscape is highlighted and the diaspora is romanticized. However, under the premise that the diaspora can never be romantic, this thesis analyzes the hierarchical meanings hidden inside the romanticized diaspora with a critical mind that racism and hatred are not portrayed at all in this film. Through this, we can examine the current situation of American society and Korean society and examine the similar context of American Dream and Korean Dream. The background of Jacob's desire for recognition is the neoliberalism of survival of the fittest and winner-take-all, and assimilationism, the immigration policy of the United States. Jacob actively accepts the values of the United States and tries to break through the difficulties through self-help relief centered on the family rather than accusing the social system of welfare absence. In this process, the masculinity captivated by the desire for recognition falls into the male fantasy of embracing and devoting women. In addition, the admiration of the American film industry for the character of Soon- Za has a lot of room for the otherization of non-white women. Rather than criticizing the American order, the movie actively accepted it and closed the conflict with patriarchal familism, so it was not inconvenient for American audiences as well. Minari, which contains Korean sentiments carved in the American landscape, refers to hope rooted in a strange land, but degeneracy is hidden in that hope. Just as the American Dream contains treachery and despair, so does the Korean Dream. Inside the family love and the American dream and the diaspora romanticized by the movie Minari, there are masculinity and male fantasy that destroy both oneself and others, and ideology of infinite competition for survival of the fittest that goes against civilization to barbarism. Southeast Asian women who migrated to Korea are typified in a similar way, just as Korean women are typified in a way that they are different from contemporary white women. This study is meaningful in that it analyzes the layers of meaning derived from Minari behind the achievement of the movie Minari and diagnoses the present of American society and Korean society through it. It is expected that this will be a meaningful perspective on the analysis of other texts that embody the diaspora.