RETURNED BROTHERS OR WHOLE NEW CITIZENS WITH AN IMMIGRANT BACKGROUND? AN ANALYSIS ABOUT NORTH KOREAN REFUGEES IN KOREAN CONFLICT FILMS FROM FILM-SOCIOLOGICAL ASPECT FOCUSED ON THE JOURNALS OF MUSAN 2010, DANCE TOWN 2011
References: 3rd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2016, www.sgemsocial.org , SGEM2016 Conference Proceedings, ISBN 978-619-7105-53-7 / ISSN 2367-5659, Apr 06-09, Book 4, Vol.1, 345-352 pp, DOI: 10.5593/SGEMSOCIAL2016/HB41/S06.044
After the Korean War in 1953, the topic “division” was often treated in several social and cultural areas and is still discussed frequently in South Korea. Until today it is one of the most controversial issues in South Korea, not only in reality, but also in cinema-tography, because the political situation is still unchanged since the Korean War, even after 60 years. In this analysis, I define conflict films as movies that make the political issues regarding the national partition and the relationship to North Korea a key topic. Korean conflict films have a close relation to the political situation, and as a result, in Korean film history this helped to develop an independent und country-specific film genre.
The Korean conflict films have changed their topics, genres, and ways of presentation in the last 60 years, and in each period they represented the current issues of the relation-ship between North and South Korea. Conspiciously since 2010 many conflict films deal with the issue of North Korean refugees. In this paper I shall analyse two Korean conflict films, The Journals of Musan and Dance Town, from a film-sociological per-spective: how are the current social problems of North Korean refugees as well as atti-tudes of the South Korean society towards North Korean refugees addressed? The main question is, how life conditions of North Korean refugees in South Korea are described and how the reaction of South Korean society to these refugees is depicted in both films, and how they reflect social reality.
This analysis is primarily based on Siegfried Krakauer’s theory which states that film is the mirror of society; in addition, I shall refer to further film-sociological theories and to new cinematic techniques. Furthermore, I shall use perspectives of sociological theories to explore concepts such as cultural barriers, multiculturalism, nation, and citizenship to examine the cinematographic portrayal of the everyday life of North Korean refugees.
Keywords: Film-sociological theories, Krakauer’s theory, Korean conflict films, North Korean refugees, The Journals of Musan, Dance Town
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