1950∼60년대 재일 영상미디어의 기록과 담론―이마이 다다시의 <저것이 항구의 등대이다>를 중심으로 ―

Abstract

This article centers around Tadashi Imai, a director known for his portrayal of post-war Japanese society and the Korean Joseon community—a Japanese colonial-era colony. After Japan’s defeat, he transitioned into films exploring social issues. Tadashi Imai has produced many films through Japanese film companies and won many film awards; he is a recognized director in Japanese popular culture. In 1961, his film, “That is the Port Light” analyzed the portrayal of the post-colonialist “Joseon people.” In contrast to other social directors who focused on poverty, discrimination, and social oppression in the 1950s and 1960s, Imai depicted conflicts between Koreans living in Japan and Japanese society, using the backdrop of fishing rights disputes between Korea and Japan. This article examines the representation of Koreans in the “colonial area” in the context of national films. The article explores the depiction of Koreans in Japan through post-war Japanese cinema. Despite his transformation, it is evident that the “Korean” identity he portrayed excluded the Japanese perspective. The perpetuation of such images has contributed to the ongoing strain in Korea-Japan relations, emphasizing the importance of understanding the historical context of Koreans in Japan and fostering genuine understanding among the Japanese population.