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2000년대 한국영화 스크린에서의 아시아인 타자들과의 근접조우
초록
In Korean society of the 2000s, its ethnoscape underwent a big change with the coming of the age of a million resident foreign people, and multiculturalism rose to the status of a dominant discourse. Multiculturalism, however, was not free from the suspicion that it is one in reality with the discourse of assimilation based on nationalism. On the other hand, a cinematic imagination was found in Korean cine-scape of the period in which the contacts with the Asian others was represented as the encounters with the real in Lacanian psychoanalytic sense. The film Failan(Fairan, 2001) runs a fantasy in which a Chinese woman is put as an ideal love-object for Korean males. But this fantasy also reveals the traumatic truth that sexual relationship does not exist. The Korean Chinese, i.e. the Joseonjok, in the film The Yellow Sea(Hwanghae, 2010) are the monster-like others giving a body to enjoyment(jouissance) and embody the pure logic of capitalism more than we, as beings of ‘like us more than us.’ The film R-Point (Al-pointeu, 2004) brings out the absolute other as the real Thing embodying the return of the repressed and functioning as the object of fear. It plays the Korean apocalypse through a Korean version of ‘Heart of Darkness.’ Though not being subsumed into assimilation discourse or multiculturalism, such an imagination of the close encounters of the real kind also reveals that we do not yet genuinely meet the other after all.