The Zainichi (Koreans-in-Japan) cinema refers to the transnational
film industry of Japan, South and North Korea. With the main theme on
the struggles or experiences faced by the resident Korean community or
individuals in Japan, the Zainichi cinema is characterized by a wide
range of film genres, which encompass melodramas to Yakuza films.The
earliest Japanese films featuring Koreans or resident Koreans in Japan
can be traced back to the propaganda films of the early 1920s, when
Korea was still under the Japanese colonial rule. During this period,
Koreans in Japan were often depicted as members of the peripheral
society rather than the main characters. Moreover, the film of this
era exclusively tied this particular population to the two-way images
of poverty and cheap laborers. For example, in films such as Look at
This Mom (1930) and The Brick Factory Girl (1940), Korean laborers in
Japan were primarily depicted as impoverished residents of the
marginal slums where they closely lived with other poor people.
Additionally, in a film titled Mr. Thank You (1936) directed by
Shimizu Hiroshi, a scene, where nomadic Korean construction workers
and their family move from one place to another in Japan, was inserted
while highlighting the exploitive treatment of laborers from Korea.In
the postwar era, several films played an instrumental role in publicly
visualizing the struggles and oppression experienced by Zainichi
Koreans. In doing so, however, the Zainichi-themed films often
replicated the stereotypes of Zainichi Koreans as “violent†and
“criminal.†Prominently, Death by Hanging (1968) directed by
Oshima Nagisa drew the struggles of a young Zainichi Korean prisoner.
The main character named “R†allegedly murdered two Japanese women
after raping them. Following his arrest, the trial decided that R be
executed by hanging. In the film, his violence was portrayed as an
explosive manifestation of his complicated identity crisis, while his
delinquent past and domestic violence within his family exclusively
colored the personal character of R. Other films of this era included
By a Man's Face You Shall Know (1966) by Kato Tai, Three Resurrected
Drunkards (1968) by Oshima Nagisa, and Empire of Kids (1981) by Izutsu
Kazuyuki. These postwar films of the 20th century were generally
illustrative of the struggles and difficulties faced by many Zainichi
Koreans. At the same time, Zainichi characters were repeatedly
represented as Yakuza members or criminals, thereby sustaining their
image as violent social outcasts.In 1975, a movie titled River of the
Stranger was shot and released by director Lee Hak-in. Unlike the
earlier films with the depiction of Zainichi characters, this film was
the first Zainichi-themed film that was directed by a Zainichi Korean
director. Subsequently, his work was followed by other Zainichi Korean
film directors such as Sai Yoichi, Lee Sang-il, Yang Yong-hi, Oh Mipo,
and Sugino Kiki, while Japanese directors continued to produce
Zainichi-themed films.
film industry of Japan, South and North Korea. With the main theme on
the struggles or experiences faced by the resident Korean community or
individuals in Japan, the Zainichi cinema is characterized by a wide
range of film genres, which encompass melodramas to Yakuza films.The
earliest Japanese films featuring Koreans or resident Koreans in Japan
can be traced back to the propaganda films of the early 1920s, when
Korea was still under the Japanese colonial rule. During this period,
Koreans in Japan were often depicted as members of the peripheral
society rather than the main characters. Moreover, the film of this
era exclusively tied this particular population to the two-way images
of poverty and cheap laborers. For example, in films such as Look at
This Mom (1930) and The Brick Factory Girl (1940), Korean laborers in
Japan were primarily depicted as impoverished residents of the
marginal slums where they closely lived with other poor people.
Additionally, in a film titled Mr. Thank You (1936) directed by
Shimizu Hiroshi, a scene, where nomadic Korean construction workers
and their family move from one place to another in Japan, was inserted
while highlighting the exploitive treatment of laborers from Korea.In
the postwar era, several films played an instrumental role in publicly
visualizing the struggles and oppression experienced by Zainichi
Koreans. In doing so, however, the Zainichi-themed films often
replicated the stereotypes of Zainichi Koreans as “violent†and
“criminal.†Prominently, Death by Hanging (1968) directed by
Oshima Nagisa drew the struggles of a young Zainichi Korean prisoner.
The main character named “R†allegedly murdered two Japanese women
after raping them. Following his arrest, the trial decided that R be
executed by hanging. In the film, his violence was portrayed as an
explosive manifestation of his complicated identity crisis, while his
delinquent past and domestic violence within his family exclusively
colored the personal character of R. Other films of this era included
By a Man's Face You Shall Know (1966) by Kato Tai, Three Resurrected
Drunkards (1968) by Oshima Nagisa, and Empire of Kids (1981) by Izutsu
Kazuyuki. These postwar films of the 20th century were generally
illustrative of the struggles and difficulties faced by many Zainichi
Koreans. At the same time, Zainichi characters were repeatedly
represented as Yakuza members or criminals, thereby sustaining their
image as violent social outcasts.In 1975, a movie titled River of the
Stranger was shot and released by director Lee Hak-in. Unlike the
earlier films with the depiction of Zainichi characters, this film was
the first Zainichi-themed film that was directed by a Zainichi Korean
director. Subsequently, his work was followed by other Zainichi Korean
film directors such as Sai Yoichi, Lee Sang-il, Yang Yong-hi, Oh Mipo,
and Sugino Kiki, while Japanese directors continued to produce
Zainichi-themed films.
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