Południowokoreański nacjonalizm – kategoria Innego w budowaniu filmowych narracji narodowych

Joanna Beczkowska

doi:10.18778/8331-534-8

Keywords: South Korea, Japan, North Korea, nationalism, national identity, film

Published: October 30, 2024

Categories: Political science and international relations, Open Access

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This study focuses on the role of the "Other" in shaping nationalism and national identity through a case study of South Korea and its relations with North Korea and Japan. The main goal is to identify, characterise and analyse the different roles assigned to neighbouring countries in the process of constructing South Korean national identity. The research focused on film narratives, which have a significant impact on shaping collective memory and national identity and constitute an important political and ideological tool.

In South Korea, policy is shaped not only by rational factors but also in relation to two "Significant Others" - Japan and North Korea. In such a situation, emotional factors play a role in decision-making. Moreover, having two “Significant Others” and two identities – Korean and South Korean – complicates international relations. With Korean identity, South Korea should strive for unification with the DPRK while at the same time feeling the need to come to terms with the colonial period, which generates conflict with Japan. However, for the South Korean identity, the greatest threat is North Korea - also in the sense of symbolic legitimisation of Korean power and representation. This identity requires striving for domination over the DPRK and encourages cooperation with Japan based on shared values. Having two identities defined in relation to two different "enemies" means that the ROK's policy towards Japan and North Korea changes frequently. Identifying and characterising the roles that these states play as Significant Others in South Korean national narratives becomes a useful tool in analysing South Korea's behaviour in the international arena.

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Wiosna na Półwyspie Koreańskim (kor. Bandoui Bom, 반도의 봄), reż. Lee Byung-il, 1941.

Niech żyje wolność (kor. Jayumanse, 자유만세), reż. Choi In-kyu, 1946.

Mój wyzwolony kraj (Haebangdoen naegohyang 해방된 내고향, reż. Jeon Chang-keun, 1947.

Rewolucja Pierwszego Marca (Sam-ilhyeogmyeonggi, 삼일혁명기, reż. Lee Gu-yeong, 1947.

Yun Bong-gil – męczennik (Yun Bonggil ui-sa, 윤봉길 의사), reż. Yun Bong-chun, 1947.

Kronika An Jung-geuna (An Junggeun sagi, 안중근 사기), reż. Lee Gu-yeong, 1947.

Przełamując mury (kor. Seongbyeog-eul ttulhgo,성벽을 뚫고), reż. Han Hyung-mo, 1949.

Arirang (kor. 아리랑), reż. Lee Kang-cheon, 1954.

Ręka przeznaczenia (kor. Eunmyeongui son, 운명의 손), reż. Han Hyung-mo, 1954.

Piagol (kor. 피아골), reż. Lee Kang-cheon, 1955.

Król Gojong i męczennik An Jung-geun (kor. Gojonghwangje-wa uisa An Junggeun, 고종황 제와 의사 안중근), reż. Jeon Chang-keun, 1959.

Klub Niepodległości i Rhee Syngman (kor. Dongnip hyeophoe-wa I Seungman, 독립협회와 청년 리승만), reż. Shin Sang-Ok, 1959.

Nie ma tragedii (kor. Bigeugeun eobsda, 비극은 없다), reż. Hong Seong-ki, 1959.

Zabłąkana kula (kor. Obaltan, 오발탄), reż. Yu Hyun-mok, 1960.

Ach! Pan Kim Ku (kor. Ah! Baek Beom Kim Ku Seonsaeng, 아아 백범 김구선생), reż. Jeon Chang-keun, 1960.

Pożegnanie rzeki Tumen (kor. Dumangang-a Jal Itgeora, 두만강아 잘 있거라), reż. Im Kwon-taek, 1962.

Szczęśliwa samotność (kor. Haengbokhan Godok, 행복한 고독), reż. Shin Kyeong-gyun, 1963.

Sowiecko-mandżurska granica (kor. Somangukgyeong, 소만국경), reż. Gang Beom-gu, 1964.

Czerwony szalik (kor. Ppalgan Mahura, 빨간 마후라), reż. Shin Sang-ok, 1964.

Siedem kobiet – jeńców wojennych (kor. Chilinui yeoporo, 7인의 여포로), reż. Lee Man-hee, 1965.

Wojna chińsko-japońska i bohaterka królowa Min (kor. Cheong-iljeonjaenggwa yeogeol Minbi, 청일전쟁과 여걸 민비), reż. Lim Won-sick, Rha Bong-han, 1965.

Płonący kontynent (kor. Bulbutneun Daeryuk, 불붙는 대륙), reż. Lee Yong-ho, 1965.

Nostalgia (kor. Manghyang, 망향), reż. Kim Soo-yong, 1966.

Żegnaj Japonio (kor. Jal Itgeora Ilbonttang, 잘 있거라 일본땅), reż. Kim Soo-yong, 1966.

Bohater bez numeru identyfikacyjnego (kor. Gunbeoneobsneun Yongsa, 군번없는 용사), reż. Lee Man-hee, 1966.

Oskarżenie (kor. Gobal, 고발), reż. Kim Soo-yong, 1967.

Jeździec bez sztandaru (kor. Gisbal-eobneun gisu, 깃발없는 기수), reż. Im Kwon-taek, 1979.

Chil-su i Man-su (kor. Chil-su wa Man-su, 칠수와 만수), reż. Park Kwang-su, 1988.

Północnokoreański partyzant w Korei Południowej (kor. Nambugun, 남부군), reż. Chung Ji-young, 1990.

Biała odznaka (kor. Hayanjeonjaeng, 하얀전쟁), Chung Ji-young, 1992.

Szept: życie kobiet w Azji (kor. Najeun Moksori Asiaeseo Yeoseongeuro Sandaneun Geot, 낮은 목소리 아시아에서 여성으로 산다는 것), reż. Byun Young-joo, 1995.

Nawykowy smutek (Habitual Sadness: Naj-eun mogsoli 2, 낮은 목소리 2), reż. Byun Young-joo, 1997.

Przełamując ciszę (Chimmugui Sori, 침묵의 소리), reż. Kim Dae-sil, 1998.

Mój własny oddech (kor. Sum-gyeol, 숨결), reż. Byun Young-joo, 1999.

Shiri (kor. Swili, 쉬리), reż. Kang Je-kyu, 1999.

Strefa bezpieczeństwa (Gongdonggyeongbiguyeok, 공동경비구역), reż. Park Chan-wook, 2000.

Drużyna bejsbolowa YMCA (kor. YMCA YagudanYMCA, 야구단), reż. Kim Hyun-suk, 2002.

Braterstwo broni (kor. Taegukgi Hwinallimyeo, 태극기 휘날리며), reż. Kang Je-kyu, 2004.

Moje serce nie jest jeszcze złamane (kor. Na-eui Ma-eum-eun Jiji Anatda, 나의 마음은 지 지 않았다), reż. Moon So-ri, 2007.

Dobry, zły i zakręcony (kor. Jo-eun nom nappeun nom isanghan nom, 좋은 놈, 나쁜 놈, 이 상한 놈), reż. Kim Jee-woon, 2008.

: w ogień (kor. Pohwa sogeuro, 포화 속으로), reż. John H. Lee, 2010.

Berlin (kor. Be-reul-rin, 베를린), reż. Ryoo Seung-wan, 2012.

Jiseul (kor. 지슬), reż. O Muel, 2013.

Potajemnie wielki (kor. Eunmilhage Widaehage, 은밀하게 위대하게), reż. Jang Cheol-soo, 2013.

: Bitwa pod Myeong-ryang (Myeongnyang, 명량), reż. Kim Han-min, 2014.

Oda do ojca (kor. Gukjesijang, 국제시장), reż. Yoon Je-kyoon, 2014.

Bitwa morska Yeonpyeong (kor. Yeonpyeonghaejeon, 연평해전), reż. Kim Hak-soon, 2015.

Gra cieni (kor. Miljeong, 밀정), reż. Kim Jee-woon, 2016.

Powrót do domu (kor. Gwihyang, 귀향), reż. Cho Jung-rae, 2016.

Zombie Express (kor. Busanhaeng, 부산행), reż. Yeon Sang-ho, 2016.

Lament (kor. Gokseong, 곡성), reż. Na Hong-jin, 2016.

Śnieżna droga (kor. Nun-gil, 눈길), reż. Lee Na-jeong, 2017.

I Can Speak (Ai kaen seupikeu, 아이 캔 스피크), reż. Kim Hyun-suk, 2017.

Wyspa – okręt wojenny (kor. Gunhamdo, 군함도), reż. Ryoo Seung-wan, 2017.

Stalowy deszcz (kor. Gangcheolbi, 강철비), reż. Yang Woo-suk, 2017.

Herstory (kor. Heoseutori, 허스토리), reż. Min Kyu-dong, 2018.

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How to Cite

Beczkowska, Joanna. 2024. South Korean Nationalism – the Category of the Other in Creation of National Film Narratives. Contemporary Asian Studies Series. Poland: Lodz University Press. https://doi.org/10.18778/8331-534-8.