Earticle

초록

영어

This paper explores the cinematic strategies in Sai Yoichi’s film Blood and Bones (2004) by focusing on visibility and political legibility. Since the globalization of Zainichi cinema and literature, recent scholarship has often celebrated post- and anti-essentialist representations of Zainichi identity. Blood and Bones, in this context, has mostly been discussed through the connection between its representation of violence and Zainichi identity. However, cinematic visibility does not necessarily produce political legibility. This paper argues that Sai’s adaptation renders Zainichi identity spectacularly visible while making the historical and institutional conditions that produced it politically illegible. By tracing the use of diasporic narrative in the Kimigayo Maru opening sequence, the reconstruction of tongne as an enclosed memoryscape, and the spectacularization of Kim Shunpei’s body, I demonstrate how minority representations can become politically contained by the very process of cinematic visibility. To make this case, I read Sai’s film alongside Yang’s 1998 novel, situating both within the political history that produced the Zainichi community and identity. This paper contributes to Zainichi studies by presenting Sai’s film adaptation as a case in which moving away from a fixed Zainichi identity may make Zainichi representations more readily accommodated within the Japanese cultural imagination at the cost of political legibility.

목차

1. Introduction
2. Depoliticizing the Jeju-Osaka Passage
3. Enclosing the Zainichi Tongne
4. Spectacularizing the ‘Monster’ Shunpei
5. Conclusion: Anchored in Jeju, but Legible to Whom?
인용문헌
[Abstract]

키워드

저자

• Jaesoon Kim [ Yonsei University ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  인문언어 [LINGUA HUMANITATIS]

• 간기

  반년간

• pISSN

  1598-2130

• 수록기간

  2000~2026

• 등재여부

  KCI 등재

• 십진분류

  KDC 705 DDC 405