『家族シネマ』に表われた父親像

『家族シネマ』に表われた父親像

Family cinema shows two different images of father. One is the image of selfish, violent father who ignores his family, and the other the image of industrious, generous father who takes care of his family. The author Yumiri portrays the image of her Japanese father as the former. Yet in a cinema, the same father is portrayed as the latter. Imamura interpreted this as 'metafiction,' saying that 'the author had an effective way of rendering fiction more realistic.' The writer of this thesis interprets it as 'the internal consciousness of Yumiri, a Korean-Japanese of the second generation, being shown in a double-faced structure like the two images of father in this work.' The reason is that the image of father portrayed as a Japanese father is very similar to that of Korean-Japanese of the first generation. The author seems to dislike writing novels about ethnic Koreans in Japan, but she achieves her goal more effectively by employing this double-faced structure. In other words, apparently she is not concerned about the life of ethnic Koreans in Japan, but on the other hand, she portrays through the device of family history the unrooted life of wandering Korean-Japanese of the first generation. And a look was taken at the father loss and identity obtaining of Motomi, the heroine. The heroine, who judged that the old architect Hukami was rather unrealistic and sportive, decided to live together with him. The photograph of hips, swing, dog, etc., reminding her of the short-lived happy life of childhood just before the family collapse, led her to looking for her lost father. Thus it seemed that she succeeded in finding her father, as most of her time was spent in Hukami's apartment, but she ended up losing him because she was ousted by Hukami. However, her true identity can be found in this father loss. The writer examined this issue in the interrelation of the father-finding and identity on the part of the Korean-Japanese of the first generation.