This paper analyzes the relationship between migration and gender through the cases of Korean miners and nurses in Germany. These two genderd groups can be said to be appropriate examples to examine the so-called ‘sexual (female) face of globalization’. The relationship was first analyzed theoretically and empirically, and then the issue of representation in the film was dealt with in detail. The keywords of the analysis are migration, gender, ‘world family’, patriarchy, and autographic narrative and in particular, the problem of narrative and perspective. In conclusion, if Ode to My Father is a centripetal representation of migration centered on nationalism, patriarchal system, ‘normal family’, and return narrative, Endstation der Sehensüchte is a transnational world family, female migration, and re-migration, and shows a centrifugal landscape.