@article{ART002411527},
author={Park dongho},
title={The gaze on Korean Japanese represented in the movie “That’s the light in the port” directed by Imai Tadashi},
journal={Journal of Japanese Culture},
issn={1226-3605},
year={2018},
number={79},
pages={89-107},
doi={10.21481/jbunka..79.201811.89}
TY - JOUR
AU - Park dongho
TI - The gaze on Korean Japanese represented in the movie “That’s the light in the port” directed by Imai Tadashi
JO - Journal of Japanese Culture
PY - 2018
VL - null
IS - 79
PB - The Japanese Culture Association Of Korea (Jcak)
SP - 89
EP - 107
SN - 1226-3605
AB - Imai Tadashi is a great master of Japanese Neorealism known for his anti-war and post-democracy Japanese films. Ironically, at the end of the Japanese colonial era, he directed two nationally-run films with Korean director Choi, In-Gyu, which instigated Joseon people to participate in the war through the Japanese imperialistic policy. Imai Tadashi regretted this as “the biggest mistake he had committed,” and he treated Joseon and Joseon people as important motifs in various post-war films. His repentant attitude was best reflected in the movie ‘That’s the light in the port,’ which is based on the case of ‘Syngman Rhee Line.’ This movie played a leading role in revealing the identity issues of second generation Korean Japanese and is considered the most remarkable work for studying the representation of Korean Japanese in post-war Japanese films. Accordingly, I studied the viewpoints on Korean Japanese presented in this movie. I compared different images of Korean Japanese based on social conscience and educational movies of the same age as this film. Based on the issue of Syngman Rhee Line and the social discourse regarding Korean Japanese, I analyzed how this film represented the Korean Japanese who were forced to live as “border riders,” not being able to have either Korean or Japanese identities. This work helps understand the life and history of Korean Japanese who have lived through discriminative Japan society. It also sheds new light on Imai Tadashi who is known as the director of nationally-run films of the colonial era.
KW - Imai Tadashi;That’s the light in the port;Korean Japanese;Syngman Rhee Line;Post-war Japanese Films
DO - 10.21481/jbunka..79.201811.89
ER -
Park dongho. (2018). The gaze on Korean Japanese represented in the movie “That’s the light in the port” directed by Imai Tadashi. Journal of Japanese Culture, 79, 89-107.
Park dongho. 2018, "The gaze on Korean Japanese represented in the movie “That’s the light in the port” directed by Imai Tadashi", Journal of Japanese Culture, no.79, pp.89-107. Available from: doi:10.21481/jbunka..79.201811.89
Park dongho "The gaze on Korean Japanese represented in the movie “That’s the light in the port” directed by Imai Tadashi" Journal of Japanese Culture 79 pp.89-107 (2018) : 89.
Park dongho. The gaze on Korean Japanese represented in the movie “That’s the light in the port” directed by Imai Tadashi. 2018; 79 : 89-107. Available from: doi:10.21481/jbunka..79.201811.89
Park dongho. "The gaze on Korean Japanese represented in the movie “That’s the light in the port” directed by Imai Tadashi" Journal of Japanese Culture no.79(2018) : 89-107.doi: 10.21481/jbunka..79.201811.89
Park dongho. The gaze on Korean Japanese represented in the movie “That’s the light in the port” directed by Imai Tadashi. Journal of Japanese Culture, 79, 89-107. doi: 10.21481/jbunka..79.201811.89
Park dongho. The gaze on Korean Japanese represented in the movie “That’s the light in the port” directed by Imai Tadashi. Journal of Japanese Culture. 2018; 79 89-107. doi: 10.21481/jbunka..79.201811.89
Park dongho. The gaze on Korean Japanese represented in the movie “That’s the light in the port” directed by Imai Tadashi. 2018; 79 : 89-107. Available from: doi:10.21481/jbunka..79.201811.89
Park dongho. "The gaze on Korean Japanese represented in the movie “That’s the light in the port” directed by Imai Tadashi" Journal of Japanese Culture no.79(2018) : 89-107.doi: 10.21481/jbunka..79.201811.89
