KJCKorea
Journal Central

This study aims to examine the decolonialist implications of Jang Jae-hyun's film <Pamyo(Exhuma)>, which deals with the historical pain of Korea during the Japanese occupation and the effects of Japanese domination through the motif of ethnic extermination. This paper seeks to move away from the pro/anti-Japanese dichotomy to analyse the film more closely and comprehensively address the conflicting perspectives surrounding <Pamyo>. This paper analyses <Pamyo> from a postcolonial perspective. It reveals the inherent decoloniality of the film through the characterisation of the protagonists and the post-dualism of the problem-solving process, and discusses how the characterisation of the villain through anachronism works as a critique of colonialism. The film's protagonists are all boundary characters who overcome their problems through solutions that transcend dichotomies. On the other hand, the anarchronism that constitutes the ostensible villain, the pro-Japanese Geunhyun, and the in-depth villain, the Oni, achieves a satirical critique of patriarchy and colonialism by evoking the ridiculousness of the villains. The significance of this study is that by analysing <Pamyo> from a postcolonial perspective, it revisits the historical wounds of Korea and suggests the possibility of moving beyond the existing binary anti-Japanese discourse. Through this discussion, it is possible to identify the contemporary transformative potential of postcolonialism.

Pamyo(Exhuma), Jang Jae-hyun, Postcolonialism, Anticolonism, Colonism, Patriarchy, Post-dualism, Anachronism, Humour