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자료유형
학술저널
저자정보
저널정보
한양대학교 현대영화연구소 현대영화연구 현대영화연구 제15권 제3호
발행연도
2019.1
수록면
157 - 173 (17page)

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Inter-Korean relations have long been a recurring theme in South Korean films. The depiction of South Korea’s relationship to its isolated neighbour has continued to evolve, but it remains tenuous. However, with the recent developments on the peninsula that has seen the reimplementation of Kim Dae-jung and Roh Moo-hyun’s so-called Sunshine Policy by president Moon Jae-in, the depiction of North Korea has seen subtle but significant changes. Moving away from being a villainous antagonist, focus has shifted to a growing critique of internal political divisions and the ever-growing hegemony of foreign powers, especially China and the U.S. This essay examines four Korean films released in 2018: The Spy Gone North, Illang: The Wolf Brigade, Swing Kids and Take Point that tackle the subject of inter-Korean relations. It argues that while The Spy Gone North embraces the new climate with improved relations, it also exposes the internal political conflicts that threaten to undermine the whole peaceful process, which is also echoed in Illang. The essay also seeks to stress how Illang, Swing Kids and Take Point see the relationship between the two Koreas as precarious, not necessarily because of North Korea’s nuclear ambitions but because of the geopolitical interests of its allies and neighbours.

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