한국영화에 재현된 민족주의와 국가 지배담론의 이해관계
Korean Dominant Discourse and How Korean Nationalism is Reproduced in Korean Movies
One country’s nationalism depends on its historical situation and the social context that country has faced in the past as well as the present, and Korean nationalism is no different; therefore, empirical analysis is required to study this phenomenon.
However, studies of Korean nationalism have been limited in terms of the analytical methods used so far. Nationalism is often accomplished with racial, historical and cultural factors that the homogeneity of the people share in society. But in fact, Korean nationalism has been acting in a contradictory way, and also Korean nationalism in the past has changed in order to keep in line with political agendas.
The Korean people greatly understand these changes without difficulty through popular culture. For this reason we can study Korean nationalism by observing the nationalist representation that appears in popular culture and which can reflect Korea’s modern history thoroughly.
This paper has the following three purposes.
First, it will analyse the contents of nationalism reproduced in Korean popular films, and then try to find the reasons and mechanisms for it.
The second purpose, is to explore the political background and purpose of the reproduction of nationalism in Korean movies which is part of popular culture. In addition to that considering the popular is intertextuality, we can understand that the national characteristics shown in Korean movies can also be checked thoroughly through popular Korean culture and social discourse.
In terms of the subjects that create nationalism, there are three representations: Ethnic nationalism which comes from an individual’s innate sense of self and country, statist nationalism that a country's elite espouses for political purposes, and civic nationalism which builds up spontaneously from the bottom. These three nationalistic interactions will draw on the overall topography of Korean nationalism. These primodialist and constructivist perspectives are necessary for understanding Korean nationalism.
Finally, the third research goal is the reproduction of nationalism in film, that is, how nationalism is maintained, portrayed, and represented in a certain era, which happens to find a projection above the will of the principal subjects which adds more emphasis on nationalism.
In this paper, portrayals of ‘Korean nationalism' which appear in Korean films targeted at Korean audiences will be analysed together with their release dates because the portrayal of Korean nationalism in films has changed over time in accordance with different political leaders who wanted to promote their own versions of nationalism.
Due to these differences, several different versions of Korean nationalism have been advocated by both conservative and progressive parties, and also by Korean presidents that selected nationalism as their dominant ideology and emphasized it politically; consequently, nationalistic perspectives revealed in films is a phenomenon that can be found to be consistent with the president of that era’s discourse.
The first time that nationalism can be specifically seen in film is during the Lee seung-man government. A problem at that time was how to rebrand Korean nationalism on a national level that would bring Koreans together as one people so soon after liberation from Japan.
Korea was soon to be separated into two countries; therefore, the government had to mobilize the nation / state-by establishing a national identity through a system of checks. At this time, the government and the intellectuals used the phrase: 'reconstruction'. This symbol appeared frequently in film culture in the late 1950s Sharon, the national anthem, national flag, such as "country" and it was independent material related to the establishment of identity. When viewed through film the national identity of the Republic of Korea had become increasingly formation can be over the course of the 1950s, rather than that which already exists in solid form at the time of that government.
Second, the Park Chung-Hee government in the 1960s and 1970s which was a developmental dictatorship that focused on national development, economic development and political priority to adopt nationalism was mobilized as a tool for economic development. By strengthening the unity and solidarity of nationalism inside 'our' political aspect of the case was to mobilize the masses for economic purposes. The 60's and 70's were a means of national cultural policy that actively involved the cultural area to nationalism and ethnic discourse as it established a dominant ideology. The Park Chung-hee government enacted the first time since the 1962 movie How to easily and precisely control the film policy, your turn to 1973 and was amended to change so often. Therefore, the film itself was regarded as a media to create a future of brighter prospects than just a realistic image of contemporary revealing.
Finally, the Kim Dae-jung government. Kim led the resistance movement against the former leader Park and argued that Korean needed to recognize the inseparable relationship forged between dictatorship and to overcome the division and the Civil division system for the democratization of politics. In this way, Kim emphasized the unity of national democracy. Resistance as a nationalist discourse emerged as the framework of the opposition with the ruling nationalist discourse. Entering the second half of the 1990s, the Kim Dae-jung administration viewed the issue of division between the two Koreas as taboo so Korean popular films and culture did not deal with this issue as much as they had done in the past. The portrayal of North Korea in film was a politically sensitive topic of inter-Korean relations in the real world and therefore the issue was avoided.
The first perspective is especially emphasized in this paper, when you want to access nationalism as it appears in the modern history of Korea as constructivist; the unique characteristics of Korea will be understood as the result of historical contingency. Ethnic and get us out of the colonial period there was a contradiction and conflict between national cultural debate becomes earnest done in the context of nation-state building. What is culture to be rebuilt from the nation-building process, we mean the national culture to meet the demands of a new age. In addition, nationalism has grown rapidly since the late 1990s to the mid-movie-2000s phenomenon can be accompanied with anxiety about globalization are analyzed in promoting economic crisis since the people's psychological needs of nationalism. What points want to discuss in this paper is more political elite and supreme ruler of Lee Seung-man , Park Chung-hee and Kim Dae-jung, especially with the left and right nationalist political necessity and purpose were grafted logic utilization. Post-modernism concept of the nation in terms of ideology and nationalism can always be fixed with the agreed conclusions, but know that reconfiguration is constantly being redefined and area of contention for approval.
Where does Korean nationalism come from? Korean nationalism is produced, from the 'political leaders' and receives the response of the public 'from below' by changes in social conditions and the process is constantly reconfigured to accomplish this.
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