Static Nomads in Korean Diaspora Cinema: The Journal of Musan, and Dooman River
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초록
Korea could be categorized as a diasporic nation since there are various modes of statelessness in one ethnic group. As one of the ethnocentric country, Korea's diaspora has layers of conflicts and social turbulence. This research explored Korean diaspora by analyzing two films featuring North Korean (t'albukchas) defectors and Korean-Chinese (Chosŏnjoks). The Journals of Musan and Dooman River are read closely in terms of semantic narratives, symbols, and spacial camera movements. This study will be looking at the narrative and aesthetics of these two films and how it purports the notion of lost identity and the almost stagnant reality (not able to transform or move into a new reality or culture) of diasporic population.
Abstract
Korea could be categorized as a diasporic nation since there are various modes of statelessness in one ethnic group. As one of the ethnocentric country, Korea's diaspora has layers of conflicts and social turbulence. This research explored Korean diaspora by analyzing two films featuring North Korean (t'albukchas) defectors and Korean-Chinese (Chosŏnjoks). The Journals of Musan and Dooman River are read closely in terms of semantic narratives, symbols, and spacial camera movements. This study will be looking at the narrative and aesthetics of these two films and how it purports the notion of lost identity and the almost stagnant reality (not able to transform or move into a new reality or culture) of diasporic population.
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