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MOURNING AND THE MOVIE SPIRITS’ HOMECOMING

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JO S.

International Journal of Korean Humanities and Social Sciences

2017

vol. 3

105-116

영화 <귀향>은 두 한국인 “위안부” 여성을 통하여 과거와 현재를 연결하며, 그들의 삶과 고뇌, 애도를 그려낸다. 본 논문에서는 데리다의 애도 개념을 바탕으로 주요 등장인물과 영화가 구현하는 애도를 분석하며, <귀향>에서 재현된 애도가 한국인 관객에게 미치는 영향 또한 논하고자 한다. 그 과정에서, 재현된 “위안부”의 이미지에 반영되어 있는 가부장적, 국가주의적 이데올로기가 어떻게 “위안부”를 한국 사회 내 궁극적인 피해자로 위치시키는지 분석하고자 한다.

Film Spirits’ Homecoming łączy przeszłość i teraźniejszość za pośrednictwem sylwetek dwóch koreańskich kobiet i ujawnia ich życie, udrękę i żałobę. W oparciu o koncepcję żałoby Derridy, niniejszy artykuł analizuje żałobę głównych bohaterek filmu. Co więcej, koncentruje się na tym, jak koreańscy widzowie zareagowali na cierpienie prezentowane w Spirits’ Homecoming. Artykuł stanowi także swoistą krytykę sposobu odzwierciedlenia panujących ideologii patriarchatu i nacjonalizmu w omawianym filmie przy pomocy złożoności problemu kobiet-pocieszycielek. Film bowiem wskazuje przypisany przez wzmiankowane ideologie status kobiet-pocieszycielek jako ofiar.

The movie Spirits’ Homecoming connects the past and the present through two Korean “comfort women” and reveals their life, anguish and mourning. Based on Derrida’s concept of mourning, this paper analyzes mourning of the main characters and the movie. Furthermore, it focuses on how Korean viewers reacted through mourning presented in Spirits’ Homecoming. By doing so, this paper criticizes how the film’s vivid representation of “comfort women” reflects patriarchal and nationalist ideologies which position the “comfort women” as the ultimate victims in Korean society.

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1 International Journal of Korean Humanities and Social Sciences

1 JO S.

1 2017

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MOURNING AND THE MOVIE SPIRITS’ HOMECOMING