日本 미디어가 表象(representation)하는 「在日」像

Representations of Young "Zainichi" in the Japanese Media

Since the 1980's, the representations of young "zainichi" in the Japanese media have differed significantly from earlier representations of first generation "zainichi". While representations of the latter have been characterized by a nationalism, which closely associates them with the homeland, representations of the former reflect a sense of diversity and "newness". Until the 1970s, film was the sole media in which representations of "zainichi" appeared. However, beginning in the 1980s, with the long drawn-out decline (slump) of (in) the Japanese film industry, representations of "zainichi" began to appear in a wider variety of media. In this paper, I begin by focusing on representations of "zainichi" in television programmes from the 1980s. The 1980s represented a period of great changes in the "zainichi" community, characterized by themovement to end mandatory fingerprinting and the open declaration of their real Korean names, which were "objectively" documented by television. In addition, the 1986 Asian Games, the 1988 Seoul Olympics, and the opening of Cheju Island as a no-visa zone increased the opportunities for "zainichi" to experience their homeland directly. Television programmes exhibited images of second generation "zainichi", who had increased opportunities to visit Korea, and represented the ensuing shifts in "zainichi" identity. Second, I turn to an examination of print media representations of "zainichi". Specifically, I focus on both manga and special feature articles in popular magazines, which occupy a large percentage of the publishing industry market. After the release of the movie Where is the Moon? (Tsuki wa dotchi ni dete iru) "zainichi" became a commonly treated subject of special feature magazine articles. The magazine articles dealt with "zainichi" in a wide variety of ways, and through the accompanying photographs and headlines, asserted the role of and expectations for "zainichi" in Japanese society. Finally, I examine the self-representational films made by "zainichi" themselves. Through the portrayal of "zainichi" youth, these films established "zainichi" as subjects, not subjected to the representation of others. My anlysis of these three media cases reveals first, that in the representation of and discourse of diversity and "newness" surrounding "zainichi" youth, first generation "zainichi" are excluded and second, that the issue of gender, which is highly problematized among the "zainichi" themselves, is absent. The concept of identity cannot exist without the presence of the Other. In the representation of "zainichi" youth, the necessary position of the Other is occupied not by the Japanese majority, but rather by first generation "zainichi" and by "zainichi" women. This is the same both in the Japanese media's depiction of "zainichi" and in the self-representational "zainichi" films. However, in spite of these limitations, the "zainichi" self-representational films do demonstrate a certain flexibility in terms of such things as identity and the unrestricted use of "discriminatory word", thus presenting new possibilities for the representation of "zainichi" never demonstrated before.