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The Postmemory Generation and Being Abandoned: Jane Jin Kaisen’s Film Community of Parting

  • Journal of History of Modern Art
  • 2022, (51), pp.157-189
  • DOI : 10.17057/kahoma.2022..51.007
  • Publisher : 현대미술사학회
  • Research Area : Arts and Kinesiology > Art > Arts in general > Art History
  • Received : April 25, 2022
  • Accepted : May 28, 2022
  • Published : June 30, 2022

Dong-Yeon Koh 1

1서울대학교

Accredited

ABSTRACT

This paper considers how postmemory generation artists have re-defined the notions of cultural identity and “home” as non-fixed; and in flux. In her theory of the postmemory generation, Marianne Hirsch posited the postmemory generation’s dual relationship with historical trauma. However, she fails to consider the “distanced” position of the postmemory generation relative to tragic historical events as a strength rather than a weakness. In this paper, I show that this temporal and geographical “distance” provides the postmemory generation with an alternative perspective on working not only with memories but also with cultural identities. I examine the triangular relationship between the themes of the postmemory generation, Korean diaspora, and shamanism in Jane Jin Kaisen’s film Community of Parting (2019). By concentrating on the dual self-image in Kaisen’s narration and voice, followed by an analysis of the natural landscape in Community of Parting, I intend to highlight a unique cultural vantage point of the artist who is both a member of the diaspora and the postmemory generation. Through this, this study sheds light upon the hitherto understudied area of Korean diaspora artists’ relationships to historical tragedies, shamanism, and cultural boundaries.

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