<미나리>에 구현된 헤테로토피아와 공간적 성격

Abstract

<Minari> is a film by Lee Isaac Chung about the Jacob Yi family’s settlement period in rural Arkansas in the 1980s. As is the case with the film about migrants trying to take root in new settlements, <Minari> is also centered on the main character with identity as a diaspora. In the case of films dealing with the settlement history of migrants, the fact that the main character inevitably evokes Diaspora’s view of space by combining the cultural identity he originally learned and the heterogeneity of the settlement he wants to move to. The cinematic spaces in <Minari>, which are homogeneous spaces in which the perspective of American society is projected, places also with new spatial characteristics are created as the perspective of the main character’s family as a migrant. The Jacob family’s spaces, which cause cracks in homogeneous spaces in new settlements in the United States, can be understood as private spaces for the Jacob family, highlighting their identity as diaspora, and at the same time driving their lives in new settlements. For this reason, this paper understands the nature of the cinematic space as Michel Foucault’s concept of heterotopia as a mechanism that allows Jacob family members as diaspora to rediscover themselves and each other. As an example of minari field by the brook, heterotopia as a decentralized space against a space of everyday-life in the new settlements in United States seems to force unstable and fluid lives on the discrete, but ultimately the specificity of the space allows the diaspora families to rediscover each other. This paper confirms these cinematic characteristics with Michel Foucault’s concept of heterotopia.