Zainichi cinema

OLIVER DEW Z A I N I C H I C I N E M A Korean-In-Japan Film Culture Zainichi Cinema Oliver Dew Zainichi Cinema Korean-in-Japan Film Culture Oliver Dew London, UK ISBN 978-3-319-40876-7 ISBN 978-3-319-40877-4 DOI 10.1007/978-3-319-40877-4 (eBook) Library of Congress Control Number: 2016958046 © The Editor(s) (if applicable) and The Author(s) 2016 This work is subject to copyright All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed The use of general descriptive names, registered names, trademarks, service marks, etc in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made Cover illustration: © EyeEm / Alamy Stock Photo Printed on acid-free paper This Palgrave Macmillan imprint is published by Springer Nature The registered company is Springer International Publishing AG Switzerland The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland For Asuka A NOTE ON TRANSLATIONS Japanese and Korean names are presented surname first, except where the individual concerned publishes in English Modified Hepburn is used to romanise Japanese words, with the exception of established variants for place names (Tokyo instead of Tō kyō etc) The situation is more complex for Zainichi Korean names I follow Lie (2008: xiii–xiv) in using the individual’s preferred rendering where possible, and in those situations where this cannot be ascertained, romanising ‘the Japanese pronunciation of the Korean reading of the Chinese characters that constitute their Korean names’ (with the exception of surnames such as Kim and Pak, which are rendered without the final ‘u’ that a strict transliteration from Japanese would produce) Lie explains, ‘As discombobulated as this may seem, it captures some of the confusions and contradictions of Zainichi existence’ (2008: xiii) For the convenience of the reader, all film titles are given in English, using the official overseas title if it exists, or a translation if not The original title is given in square brackets following the first citation in each chapter, as well as in the filmography (ordered by director’s surname) and index (ordered by Japanese and English title) All translations from Japanese are my own unless otherwise stated in the bibliographies vii ACKNOWLEDGEMENTS This book expands on my PhD thesis, completed at Birkbeck College, University of London, and draws on research conducted during two fellowships at Meiji Gakuin University I am immensely grateful to my supervisor Nicola Liscutin and second supervisor Laura Mulvey at Birkbeck College, and my research hosts at Meiji Gakuin, Inuhiko Yomota and Ayako Saito, as well as their colleagues Monma Takashi, Choi Sungwook, and Roland Domenig, for their support and insight over the years This research was funded by a Birkbeck College Research Studentship as well as two fellowships from the Japan Society for the Promotion of Science Parts of Chap were published in Volume of the collection Nihon eiga wa ikiteiru [ Japanese Cinema is Alive] (Tokyo: Iwanami Shoten), and parts of Chap were published in The Journal of Japanese and Korean Cinema Oh Deoksoo, Takayanagi Toshio, Lee Bong-ou, and Yasui Yoshio were engaging interviewees, generous with their answers to my questions Chapters of this book, at various stages of completion, have been read by Asuka Leslie, Catherine Ames, Lyle De Souza, Dario Lolli, Jonathan D.  Mackintosh, Shinji Oyama, Chris Berry, Lúcia Nagib, Laura Mulvey, Nicola Liscutin, and the participants at the Kinema Club XII workshop at Yale University I thank them for their comments and suggestions; any mistakes that remain are my own I would also like to thank my editor Lina Aboujieb and the team at Palgrave Macmillan for their work on this manuscript Finally, I would like to thank all of the friends and colleagues, too numerous to name here, whose friendship and support have made this project possible ix CONTENTS 1 Introduction: Koreans-in-Japan On-Screen 1968/2004: Bridging Imjin River 37 Screening the Zainichi Subject 65 Excavating the Zainichi Yakuza Film 101 ‘Pacchigi Power!’: The ‘Coming-Out’ Melodrama 129 Arirang Kamikaze: Screening the Memory Wars 159 Intimate Ethnographies: Three Family Portraits 189 Conclusion 221 Filmography 227 Index 231 xi LIST Fig 2.1 Fig 2.2 Fig 2.3 Fig 2.4 Fig 2.5 Fig 2.6 Fig 3.1 Fig 3.2 Fig 3.3 Fig 3.4 Fig 3.5 Fig 3.6 Fig 4.1 Fig 4.2 Fig 4.3 Fig 4.4 Fig 5.1 Fig 5.2 Fig 6.1 Fig 6.2 Fig 6.3 Fig 6.4 OF FIGURES The Folk Crusaders performing Imujin-gawa The band singing Imujin-gawa in Three Resurrected Drunkards (1968) An inter-ethnic performance of Imjin River in Pacchigi (2004) Poster for Pacchigi! (2004) Pacchigi’s first scene on the Kamo River A tactile encounter between the two Matsuyamas Against Fingerprinting in 1984 (Zainichi Kanjin Rekishi Shiryōkan 2008) A flyer for the July 1975 run of River of the Stranger Registering the alien (For Kayako) Configuring the space of diaspora in For Kayako (1984) Alien registration in Yun’s Town (1989) Dead-pan tableau in Where is the Moon? (1993) Inside cover of the catalogue for the 2005 YIDFF Special Programme (Yasui and Tanaka 2005) Catalogue cover for the fourth Mindan Film Festival (Tokyo 2007) Blood out/blood in ‘People without a grave’ ‘The breakthrough/Pacchigi power of Zainichi Korean entertainers’ Kyung-ja’s coming out Representing Korean kamikaze Memory work as media event The Tak character sings Arirang ‘Confessions [kokuhaku]’ 38 39 39 53 55 57 71 73 80 81 87 93 103 108 119 120 134 139 165 166 171 176 xiii xiv LIST OF FIGURES Fig 6.5 Fig 7.1 Fig 7.2 Fig 7.3 Fig 7.4 Fig 7.5 Fig 7.6 Fig 7.7 Pacchigi! 2’s film-within- a-film ‘Samurai of the Pacific’ Banner for the Zainichi Korean Film Festival, Tokyo 2009 The video-camera-as-mirror in Annyong Kimchi (2000) The video camera as an extension of the body in Dear Pyongyang (2006) Matsue performs consanguinity and co-implication Matsue comes out Consanguinity and co-implication in Dear Pyongyang The first flashback to the 16 mm past in Haruko (2004) 176 190 195 198 202 205 210 214 INTIMATE ETHNOGRAPHIES: THREE FAMILY PORTRAITS 219 Renov, Michael 1995 New Subjectivities: Documentary and Self-Representation in the Post-Verité Age YIDFF: DocBox: #7 http://www.yidff.jp/docbox/7/ box7-1-e.html ——— 1999 Domestic Ethnography and the Construction of the “Other” Self’ In Collecting Visible Evidence, ed Jane M.  Gaines, and Michael Renov, 140–155 Minneapolis: University of Minnesota Press ——— 2004 The Subject of Documentary Minneapolis: University of Minnesota Press ——— 2008 First-Person Films: Some Theses on Self-Inscription In Rethinking Documentary: New Perspectives, New Practices, ed Thomas Austin, and Wilma de Jong, 39–50 Maidenhead: Open University Press; McGraw Hill Education Russell, Catherine 1999 Experimental Ethnography Durham, NC: Duke University Press Turim, Maureen 1989 Flashbacks in Film: Memory and History New  York: Routledge Yasui, Yoshio, and Noriko Tanaka, eds 2005 Borders Within: What It Means to Live in Japan [Nihon ni ikiru to iu koto: kyōkai kara no shisen] Trans Christopher D Scott Tokyo and Osaka: Yamagata International Documentary Film Festival Tokyo Office; Planet Bibliothèque du Cinema Zimmermann, Patricia Rodden 2008 The Home Movie Moment: Excavations, Artifacts, Minings In Mining the Home Movie: Excavations in Histories and Memories, ed Karen L.  Ishizuka, and Patricia Rodden Zimmermann, 1–28 Berkeley: University of California Press CHAPTER Conclusion Zainichi cinema is located in the relationship between the films themselves and the wider discursive contexts that critique, curate, and counter-read the films At the very centre of Zainichi cinema are the films that explicitly and authoritatively lay claim to represent lived Zainichi experience, the cycle of Zainichi subject features that began in the mid1970s (Chap 3) and the later self-portraits of the post-2000 video generation (Chap 7) Without films such as these, it is doubtful whether we could speak of Zainichi cinema at all The term Zainichi meant very different things at these two junctures, however Lee Hak-in’s River of the Stranger [Ihōjin no kawa] (1975b) and Kim Woo-seon’s Yun’s Town [Yun no machi] (1989), made at either end of the high season of Zainichi citizenship politics, evince a real thirst for representation, both on-screen and more broadly within the political, economic, civic, and cultural lives of the nation By the turn of the millennium, however, filmmakers like Matsue Tetsuaki and Yang Yonghi were revealing the diversity of ways of being Korean in Japan, as well as the gendered familial violence that ethnic essentialism could mask, both aspects that point to a post-Zainichi articulation Post-Zainichi is the latest of many areas of ambiguity that exist in the liminal spaces all around the edges of the ‘strategic essentialism’ of affirmative Zainichi identity politics For many decades of the post-war period, though, the biggest area of liminality was the very many Koreans who lived as Japanese, ‘passing’ in a period in which ethnicity was taboo © The Author(s) 2016 O Dew, Zainichi Cinema, DOI 10.1007/978-3-319-40877-4_8 221 222 O DEW They effectively represent an invisible or hidden ethnicity The ‘third national’ gangster film (Chap 4) operates in just such a liminal space The placement of these films within Zainichi cinema is dependent to a large extent on an active spectatorship, a desire for the characters to be legible, to be rewritable as Korean Initially this is an oral, subcultural discourse, a form of gossip But from the end of the 1980s, the cycle of ‘representation of Zainichi’-themed film retrospectives, and accompanying essays, catalogue descriptions, newspaper and journal articles, indicate that these problematic images reveal much about ethnic taboos and the construction of national identities We can map Zainichi cinema as a series of concentric circles: at the centre is the Zainichi subject film as an explicit production category, its makers aware that they are working in a nascent and emergent cycle of films; skirting the peripheries of this are the various kinds of film that can only tentatively be called Zainichi cinema, such as third national gangster films, and films that operate in a post-Zainichi space It is critical to pay attention to these ambiguously Zainichi films, however; firstly, because it is in these border regions that much of the ‘work’ of limning Zainichi takes place; and secondly, because the practice of reading these films as Zainichi offers a fascinating look at the practices of invisible ethnicity Affect is of crucial importance, to both the films at the centre of the Zainichi cinema discourse, and to those at its periphery For the Zainichi subject film at the centre of the discourse, particularly for films from Yun’s Town (1989) and Where is the Moon? [Tsuki wa dotchi ni dete iru] (Sai 1993) onwards, affect is critical to their didactic, deterritorialising ‘crossover’ impulse The mini-major Cine Qua Non is central to this move, but the impulse can be detected earlier, with Yun’s Town, for which Lee Bong-ou did some of the publicity before he founded Cine Qua Non It was critical that these films were not, as Lee put it, ‘masturbatory films just for Zainichi’ (Lee 1994: 32), language which recalls Haskell’s paraphrasing of the masculinist disdain for the Hollywood melodrama, the supposedly ‘masturbatory need’ that the woman’s film fulfils (Haskell 1987: 155) Lee, along with the contributors to what I described as the closest thing to a manifesto for Zainichi cinema, Zainichi Koreans Seen in the Screen Image (Kingendaishi kenkyūsho 1997), does not want a selfgratifying rehearsal of Zainichi grievances They are not however calling for an anti-melodramatic move Rather they are calling for identification with Zainichi protagonists, across ethnic lines, within absolutely mainstream media flows: the creation of a deterritorialising crossover cinema CONCLUSION 223 This is not a rejection of the power of melodrama (or of identification) but a modification of its rhetoric The protagonists’ virtue is still located in their suffering (as Williams posited: 2001: 29), but it is no longer necessarily the suffering of the victim: it can be the suffering of the plaintiff, or of the (con-sanguine and) co-implicated witness For those films at the periphery that contain ambiguous portrayals of Koreans in Japan, affective structures are a central part of how the image is even legible (or perhaps tangible) as Korean at all The ability to pick out a character on the screen (a fictional one like the wanderer of the 1970s yakuza film; a star/tarento personage such as Kobayashi Akira; or, most commonly, an inter-referential, inter-implicating amalgam of the two) and implicate oneself in that portrayal by saying ‘he’s with us’, can be compared to queer reading practices This mode of spectatorship (self-implicating, collapsing identification and desire) privileges affect and a dense, mutually implicating set of inter-references over legibility and explicit designation A star such as Kobayashi Akira is said to be Korean because he embodies a tangible and felt, but never explicitly confirmed or denied, Koreanness This affective vector is read across a web of mutually implicating texts, none of which, by themselves, would be sufficient to indicate Koreanness: his exilic wanderer image; his brief marriage to Misora Hibari, also long rumoured to be Korean; his single portrayal of a Korean gangster antihero in Kansai Murder Squad [Nippon bōr yoku rettō: keihanshin koroshi no gundan] (Yamashita 1975) All of these combine to create an intimately felt intuition across many media texts that certain personages might be Korean The persistent refusal of this gossip-based discourse to pass into the order of knowledge, the sense of ambiguity that this creates around figures like Kobayashi, gives his star image a potency, the potential to deterritorialise Japanese cinema Both elements of this implicational, queer spectatorship of the invisibly ethnic text get worked into the post-2000 memory films that I examine in the second half of this book, such as the Pacchigi franchise These films create an affectionate, affective, and densely inter-referential simulacrum of the mediascape of that time Both Pacchigi films (Izutsu 2004; 2007) incorporate a reading-as-rewriting position by positing a counter-history in which the ethnic taboo of the 1960s and 1970s is briefly but forcefully pierced (Chaps and 5), although they also depict the violent backlash against this coming-into-view A self-implicating spectatorship is also evident in the most interesting of the war memory films, Firefly [Hotaru] (Furuhata 2001, Chap 6) Even 224 O DEW as the film tries to achieve reconciliation between Japan and South Korea over the fate of Korean imperial conscripts, it leaves a lingering impression of an implicational relationship to the past and a guilty, bodily substitution We see a similar use of bodily performance to revivify the absent-yetpresent first generation in Annyong Kimchi (Matsue 2000, Chap 7) The implicational sense of guilt that this move impresses on us is also evident in one of the ‘bookending’ films with which I began this study, Three Resurrected Drunkards [Kaette kita yopparai] (Ō shima 1968b, Chap 2) Looking at the historical development of screen articulations of Zainichi identity across this period, a certain circularity is evident We can detect a move from ethnicity being an occulted and shameful taboo, to an affirmative ‘strategic essentialism’, and then on to an equally strategic post-essentialising formation The affective vectors have changed Nondetermination today is not driven by the shameful, pressing need to hide Koreanness, as it was in the era of the ‘third national’ film, in the era that the Pacchigi films depict Instead, it demonstrates the mischievous, deterritorialising urge to refigure what counts as normal, everyday, and Japanese It is a partial answer to being burdened with representing, being burdened with proving Koreanness It is in this context that the nostalgia for the 1960s and 1970s, for the ‘era of hiding’, evident in the catalogue descriptions of recent film retrospectives of 1960s and 1970s gangster films, or incorporated into the texts of memory films such as the Pacchigi films or Haruko (Nozawa 2004) makes most sense How else can we understand films that pleasurably and sensuously revivify a painful and potentially shame-filled part of the past? The ambiguity of the ‘era of hiding’, the affective structures of Koreanness that it creates, are useful to post-essentialist formations The reclaiming and rewriting of the ‘era of hiding’ by the nostalgic memory film and the festival retrospective retools the ethnic indeterminacy that characterised that era in order to address the burden of representing I suggested that one of the most promising venues to glimpse this morethan-representative Zainichi image is in the video portrait films discussed in the last chapter At their best moments we can perceive a Zainichi image that is contextual and performed, dedramatised and everyday, diverse and in disagreement Previous treatments of affective cinemas of diaspora have bracketed off both affect and diaspora from mainstream cinema, valorising affective somatic knowledge as a unique non-signifying resource for diasporic populations denied access to the major cinematic language They have CONCLUSION 225 called for a break with the focus that cultural studies has on epistemology and representation in order to theorise this cinema (a new sensual theory for a new sensual cinema) This affective resource does not however have to be the exclusive preserve of a cinema that is formally experimental or avant-garde Furthermore, we can approach it with a broad archive of theories that understand affect as ‘more-than-representational’ rather than non- or anti-representational (a continuity of affect across cinema theory and practice) Zainichi cinema draws on modalities of suspense, comedy, and melodrama in order to cross over into the mainstream of Japanese film practice, and to deterritorialise that mainstream There is considerable work to be done in future projects, I believe, in the liminal area between Zainichi Korean and Japanese: in the Koreaphile gesture of embodying and revivifying the affective structures of Korean songs, or of refusing to say whether or not one’s name is in fact a Korean tsūmei; or, parallel to this, the post-Zainichi habit of playfully suggesting, but refusing to verify whether, an ambiguously named character is Korean or not It offers the possibility of an understanding of exchange between cultures that focuses on the bodily performed mimesis that occurs at the point of cultural contact; the urge to copy, to perform, to remediate the affective force of the ‘other’ culture, blurring the lines between Korean and Japanese I believe this work will be a critical step in going beyond an understanding that sees globalising relations as discrete nation-bound flows WORKS CITED Haskell, Molly 1987 [1974] From Reverence to Rape: The Treatment of Women in the Movies Chicago: University of Chicago Press Kingendaishi kenkyūsho, ed 1997 Eizō ni miru zainichi chōsenjin [Zainichi Koreans Seen in the Screen Image], Ariran Bunka Kōza Vol Tokyo: Bunka sentā ariran Lee, Bong-ou, ed 1994 “Tsuki wa dotchi ni deteiru” o meguru 2, no hanashi [Two or Three Stories About “Where Is the Moon?”] Tokyo: Shakai Hyōronsha FILMOGRAPHY Arai, Hideo, and Takahide Kyogoku 1955 Children of Korea [Chōsen no ko] (National PTA of Zainichi Korean Schools, Zainichi Korean Teachers’ League, Zainichi Korean Filmmakers’ Collective) Fukasaku, Kinji 1974 New Battles Without Honour [Shin jingi naki tatakai] (Tō ei) ——— 1976 Yakuza Graveyard [Yakuza no hakaba: Kuchinashi no hana] (Tō ei) Furuhata, Yasuo 2001 Firefly [Hotaru] (Tō ei) Gordon, Daniel 2004 A State of Mind (VeryMuchSo Productions, Cine Qua Non) Han, Sang-hee 2007 Virgin Snow [Hatsuyuki no koi] (Kadokawa Pictures, Dyne Films, CJ Entertainment) Hara, Kazuo 1974 Extreme Private Eros: Love Song ‘74 [Gokushiteki erosu: Koiuta 1974] (Shissō Productions) Harada, Masato 1995 Kamikaze Taxi (Pony Canyon) Higuchi, Shinji 2005 Lorelei (Cine Bazar, Protean Image Group, Tō hō ) Hinatsu, Eitarō 1941 You and I [Kimi to boku] (Chō sen-gun hō dō -bu) Hyon, Chan-il 2008 Arirang Kamikaze: Between Japan and the Korean Peninsula [Ariran tokkōhei: Nihon to chōsenhantō no hazama de] (Nippon Television) Imai, Tadashi 1961 Those Are the Harbour Lights [Are ga minato no hi da] (Tō ei) Imamura, Shō hei 1959 Second Brother AKA the Diary of Sueko [Nianchan] (Nikkatsu) Iwai, Shunji 1996 Swallowtail (Rockwell Eyes) Izutsu, Kazuyuki 1981 Empire of Kids [Gaki teikoku] (Art Theatre Guild) ——— 2004 Pacchigi! (Cine Qua Non) ——— 2007 Pacchigi! Love and Peace (Cine Qua Non) © The Author(s) 2016 O Dew, Zainichi Cinema, DOI 10.1007/978-3-319-40877-4 227 228 FILMOGRAPHY Kamiyama, Seijirō 1995 Three Crossings [Mitabi no Kaikyō] (Shō chiku) Kanai, Katsu 1971 Good-Bye (Kanai Katsu Productions) Kang, Je-gyu 1999 Shiri [Swiri] (Kang Je-Kyu Film, Samsung, Cine Qua Non) Katō , Tai 1966 By a Man’s Face Shall You Know Him [Otoko no kao wa rirekisho] (Shō chiku) ——— 1967 Eighteen Years’ Hard Labour [Chōeki jū-hachi-nen] (Tō ei) Kim, Woo-seon 1989 Yun’s Town [Yun no machi] (Yun’s Town Production Project) Kim, Jae-bum 1997 A Filmmaker with Three Names (Shin Dong A Panavision) Kim, Sujin 2002 Through the Night [Yoru o kakete] (Artone, Cine Qua Non) Kim, Dong-won 2003 Repatriation [Songhwan] (Cine Qua Non) Lee, Hak-in 1975b River of the Stranger [Ihōjin no kawa] (Rokutō -sha) ——— 1977 Aunt Shiu [Shiu Obasan] (Rokutō -sha) ——— 1979 Red Tengi [Akai Tengi] (Rokutō -sha; Ranru-sha) Lee, Sang-il 2006 Hula Girl (Cine Qua Non) Matsue, Tetsuaki 2000 Annyong Kimchi (Japan Academy of Visual Arts, Office Kimchi) ——— 2004 Identity (HMJM) Miike, Takashi 1995 Shinjuku Triad Society [Shinjuku kuroshakai: Chaina mafia sensō] (Daiei, Excellent Film) ——— 2000 City of Lost Souls [Hyōr yū-gai] (Daiei, Tō hō , Tokuma Shoten, Tokyo FM) Miyasaka, Takeshi 2002 True Account: The Yanagawa Gang [Jitsuroku yanagawagumi] (Taki Corporation) Mori, Kazuo 1962 New Bad Reputation [Shin akumyō] (Daiei) Mori, Zenkichi 1981 To the People of the World: A Record of Korean A-Bomb Victims [Sekai no hito e: Chōsenjin hibakusha no kiroku] (Society for A Record of Korean A-Bomb Victims) Murakami, Masanori, and Hideki Hirai 2004 Tokyo Bayview [Tokyo wankei] (Fuji Television) Nagao, Hiroshi 2008 True Account! The Wada Akiko Story [Jitsuroku! Wada Akiko monogatari] (Fuji Television) Nakajima, Sadao 1967 Diaries of the Kamikaze [Aa dōki no sakura] (Tō ei) ——— 1979 Life of the Boss [Sōchō no kubi] (Tō ei) Nakata, Toichi 1994 Osaka Story (National Film and Television School, UPLINK Company) Nozawa, Kazuyuki 2004 Haruko (Fuji Television, Pore Pore Higashi Nakano) Nunokawa, Tetsuro 1971 To the Japs: South Korean A-Bomb Survivors Speak Out [Ienomu e: zaikan hibakusha mukoku no ni-jū-roku nen] (Ienomu e Production and Promotion Committee) Odagiri, Masāki 1991 Kim’s War [Kimu no sensō] (Fuji Television) Oguri, Kō hei 1984 For Kayako [Kayako no tame ni] (Ekipudo Shinema) FILMOGRAPHY 229 Oh, Deok-soo 1984 Against Fingerprinting [Shimon ōnatsu kyohi] (Against Fingerprinting Production Committee) ——— 1998 Zainichi: The Story of Koreans in Postwar Japan [Sengo zainichi gojūnenshi: zainichi] (The Story of Koreans in Postwar Japan Production Committee) Okuda, Eiji 2007 Out of the Wind [Kaze no soto gawa] (Zearizu Enterprise) Ō shima, Nagisa 1960 The Sun’s Burial [Taiyo no hakaba] (Shō chiku) ——— 1963 The Forgotten Imperial Army [Wasurerareta kōgun] (Nippon Television) ——— 1964 The Tomb of Youth [Seishun no ishibumi] (Nippon Television) ——— 1965 The Diary of Yunbogi [Yunbogi no nikki] (Sō zō sha) ——— 1966 Violence At Noon AKA the Daylight Demon [Hakuchu no torima] (Sō zō sha) ——— 1967 A Treatise on Japanese Bawdy Song [Nihon shunka-kō] (Sō zō sha, Shō chiku) ——— 1968a Death By Hanging [Kōshikei] (Art Theatre Guild, Sō zō sha) ——— 1968b Three Resurrected Drunkards [Kaette kita yopparai] (Shō chiku) ——— 1976 In the Realm of the Senses [Ai no corrida] (Argos Films, Oshima Productions) ——— 1983 Merry Christmas Mr Lawrence [Senjō no merii kurisumasu] (Shō chiku) Ō tomo, Katsuhiro 1991 World Apartment Horror (Sony Music) Ozawa, Shigehiro 1974 Succession of the Third Generation [Sandaime shūmei] (Tō ei) Pak, Su-nam 1987 The Other Hiroshima: Korean A-Bomb Victims Tell Their Story [Mō hitotsu no Hiroshima: Ariran no uta] (Song of Ariran Production Committee) Park, Cheol-su 1998 Family Cinema [Kazoku shinema] (Park Cheol-su Films Ltd) Park, Chan-wook 2000 Joint Security Area Jsa [Gongdong gyeongbi guyeok JSA] (CJ Entertainment, Cine Qua Non) Sai, Yō ichi 1993 Where Is the Moon? AKA All Under the Moon [Tsuki wa dotchi ni dete iru] (Cine Qua Non) ——— 1998 Dog Race [Inu, hashiru] (Cine Qua Non) ——— 2004 Blood and Bones [Chi to hone] (Artist Film, Asahi Hoso, Toshiba, Shō chiku) Sakamoto, Junji 2000 New Battles Without Honour [Shin jingi naki tatakai] (Tō ei) ——— 2002 KT (Cine Qua Non, Digital Site Korea, Mainichi Broadcasting System) ——— 2005 The Forsaken Country’s Aegis [Bōkoku no eijisu] (Nippon Herald Eiga, Shō chiku) 230 FILMOGRAPHY Sasabe, Kiyoshi 2005 Curtain Call (Komusutokku) Sato, Junya 2005 Yamato [Otoko-tachi no Yamato] (Kadokawa, Tō ei, TV Asahi, Tokyo FM) Sekimoto, Ikuo 1999 Zankyō (Tō ei) Shinjō , Taku 2007 I Go to Die for You [Ore wa, kimi no tame ni koso shini ni iku] (Tō ei) Song, Hae-sung 2004 Rikidōzan (CJ Entertainment, Sony Pictures Entertainment) Tanaka, Noboru 1975 Kobe International Gang [Kobe kokusai gyangu] (Tō ei) Tanaka, Fumihito 2005 The Man With Two Names: Cameraman Kim Hak-Seong, Kanai Seiichi [Futatsu no namae o motsu otoko: Kyameraman Kim Hak-seong/ Kanai Seiichi] (self-distributed) Tsutsumi, Yukihiko 1995 Sayonara Nippon! (GAGA Communications) Urayama, Kirio 1962 The Town With a Cupola [Kyūpora no aru machi] (Nikkatsu) Yamashita, Kō saku 1975 Kansai Murder Squad [Nippon bōr yoku rettō: Keihanshin koroshi no gundan] (Tō ei) ——— 1984 Shura no mure (Tō ei) Yang, Yonghi 2006 Dear Pyongyang (Cine Qua Non) Yukisada, Isao 2001 Go (Tō ei) ——— 2004 Crying Out Love in the Centre of the World [Sekai no chūshin de, wo sakebu] (Tō hō ) INDEX A abduction of Japanese nationals by Democratic People’s Republic of Korea, 19, 131 Against Fingerprinting [Shimon ōnatsu kyohi], 13 Ame shopo, 29, 44, 121 Annyong Kimchi, 189–91, 201–8 Arirang, 28 Arirang Kamikaze [Ariran tokkōhei], 161 Association of Koreans in Japan See Mindan B Battles Without Honour [Jingi naki tatakai] series, 104, 112–14 Blood and Bones [Chi to hone], 107 By a Man’s Face Shall You Know Him [Otoko no kao wa rirekisho], 10 C Cheju Island, Children of Korea [Chōsen no ko], 8–9 Chi to hone See Blood and Bones Chongryon (General Association of Korean Residents in Japan), 7–8, 10, 48 Chong, Wi-shin, 91 Chōsen no ko See Children of Korea Cine Quanon, 16–18, 89, 131, 164 colonial period, 3–5, 109, 215–16 annexation of Korea 1910, ‘comfort women’, forced migration, Crying Out Love in the Centre of the World [Sekai no chūshin de, wo sakebu], 179 D Dear Pyongyang, 189–91, 208–11 Death By Hanging [Kōshikei], 11 Note: Page numbers with “n” denote notes © The Author(s) 2016 O Dew, Zainichi Cinema, DOI 10.1007/978-3-319-40877-4 231 232 INDEX Diary of Yunbogi, The [Yunbogi no nikki], 11 Ishihara, Shintarō , 161, 163, 172–3 Izutsu, Kazuyuki, 17, 107, 163–4 F Firefly [Hotaru], 162–4, 168–72 Folk Crusaders, The, 17, 37–61 Forgotten Imperial Army, The [Wasurerareta kōgun], 162 For Kayako [Kayako no tame ni], 77–83, 136 Fukasaku, Kinji, 113 J Jūgun ianfu See colonial period, ‘comfort women’ Jingi naki tatakai See Battles Without Honour series Jitsuroku! Wada Akiko monogatari See True Account! The Wada Akiko Story Jitsuroku yanagawa-gumi See True Account: The Yanagawa Gang G Gangster films See Yakuza films General Association of Korean Residents in Japan See Chongryon Go, 14, 16, 131, 133, 136, 138, 140, 150, 161, 163, 164, 167, 172–5, 177, 180, 181, 206 Good-bye, 48 H Haruko, 189, 191–2, 211–17 Hotaru See Firefly I identity, 2, 3, 6, 7, 13, 19–22, 27, 29, 37, 44, 65–7, 70, 74, 76–8, 82, 86, 88, 90–2, 96, 102, 106, 123, 135, 136, 140, 142, 145, 147, 148, 151, 159, 175, 193, 197, 199, 202–4, 221, 224 I Go to Die for You [Ore wa, kimi no tame ni koso shini ni iku], 172–5 Ihōjin no kawa See River of the Stranger Imjin River, 28–9, 37–61 K Kaette kita yopparai See Three Resurrected Drunkards Kanai, Katsu, 47–8 Kanamoto, Haruko, 192 Kang, Sang-jung, 17, 131–2 Kansai Murder Squad [Nippon bōr yoku rettō: keihanshin koroshi no gundan], 115–22 Kasahara, Kazuo, 106, 110, 112–13 Katabira, Aki, 106, 112–15 Katō , Kazuhiko, 39, 45, 49, 51, 52 Kayako no tame ni See For Kayako Kimi to boku See You and I Kim, Kirō , 10–11, 37, 42–3, 47 Kim, Sonha, 192, 200, 212–17 Kim, Sugiru, 68–9 Kim, Woo-seon, 84–5, 88 Kobayashi, Akira, 29, 107, 122–3 Kobe International Gang [Kobe kokusai gyangu], 104 Kobe kokusai gyangu See Kobe International Gang Kokubo, Satoshi, 104 Koreana, 37 INDEX 233 Korean soldiers in Japanese Imperial Army and Navy, 164 Korean Wave, 18–19, 130–1 Kōshikei See Death By Hanging KT, 17, 18, 89, 97n6 Kuroda, Fukumi, 161, 164–7 Kyoto, 4, 17, 37–40, 43, 44, 49, 51, 52, 54–6, 58, 60, 62n10, 134 Kyūpora no aru machi See Town With a Cupola, The Kyōsei renkō See Colonial period, forced migration N Nakamura, Yuri, 141, 151–2 New Bad Reputation [Shin akumyō], 111 Nianchan See Second Brother Nihon shunka-kō See Treatise on Japanese Bawdy Song, A Nippon bōr yoku rettō: keihanshin koroshi no gundan See Kansai Murder Squad normalization of diplomatic relations with Republic of Korea 1965, 5, 6, 9, 48 L Lee, Bong-ou, 15, 52, 89, 132 Lee, Bruce, 56 Lee, Hak-in, 12, 67, 69, 70 Liberal Democratic Party (LDP), Life of the Boss [Sōchō no kubi], 104, 136 O occupation period, 4–7 Oda, Makoto, 40 Oguri, Kō hei, 77–8 Oh, Deok-soo, 11, 13, 68, 181, 199–200 Ō kura, Johnny, 72, 136, 162 Omura detention centre, 46 Ore wa, kimi no tame ni koso shini ni iku See I Go to Die for You Osaka: Ikaino, 86, 117 Ôshima, Nagisa, 11, 37–50, 67–9 Otoko no kao wa rirekisho See By a Man’s Face Shall You Know Him M Matsue, Tetsuaki, 190–1, 193, 194, 202–8 Matsuyama, Takeshi, 39, 49, 51–2, 56 Media industries film distribution, 75–6, 83–4 film festivals, 107 media mix, 134–5 tarento, 133–4, 149 melodrama, 26–8, 117–18, 137–40, 147, 179, 182–3 Minami, Kaho, 82–3, 134 Mindan (Association of Koreans in Japan), 7, 15, 18, 107 Misora, Hibari, 143, 144 Mitabi no kaikyō See Three Crossings Monma, Takashi, 14, 21 P Pacchigi!, 17, 41–2, 52–61 Pacchigi! Love and Peace, 135–40, 147–8, 175–8 Park, Chung-hee, 72 R Repatriation programme See Zainichi Korean, repatriation programme Ri, Kaisei, 73, 77 234 INDEX Rikidō zan, 140–1, 145–6 River of the Stranger [Ihōjin no kawa], 72–7, 135 S Sai, Yō ichi, 11, 16, 107 Sandaime shūmei See Succession of the Third Generation San Francisco treaty 1952, 1, Sankokujin See ‘Third national’ Satō , Tadao, 12, 14, 23–4, 66–7, 77–8, 85, 104 Sōchō no kubi See Life of the Boss Second Brother [Nianchan], 10 Sekai no chūshin de, wo sakebu See Crying Out Love in the Centre of the World Sengo Zainichi gojūnenshi: Zainichi See Zainichi: The Story of Koreans in Postwar Japan Shimon ōnatsu kyohi See Against Fingerprinting Shin akumyō See New Bad Reputation Sōren See Chongryon Succession of the Third Generation [Sandaime shūmei], 10, 104 T Takakura, Ken, 168–9 Takayanagi, Toshio, 102–4 Tak, Kyung Hyun, 162, 164–7 Tarento See Media industries, tarento ‘third national [sankokujin]’, 6, 10, 109–11 Three Crossings [Mitabi no kaikyō], 177 Three Resurrected Drunkards [Kaette kita yopparai], 38–50 Through the Night [Yoru o kakete], 17, 84 Tokyo, 3, 4, 9, 14–16, 18, 45, 46, 60, 75, 78, 83, 89, 90, 92, 97n6, 108, 125n5, 131–4, 136, 161, 163, 164, 172, 178, 190, 199, 213, 216 Torihama, Tome, 163 Town With a Cupola, The [Kyūpora no aru machi], 10, 22 Treatise on Japanese Bawdy Song, A [Nihon shunka-kō], 43–5 True Account! The Wada Akiko Story [Jitsuroku! Wada Akiko monogatari], 141, 142, 148, 150 True Account: The Yanagawa Gang [Jitsuroku yanagawa-gumi], 107 tsūmei See Zainichi Koreans, Japanese name Tsuki wa dotchi ni dete iru See Where is the Moon? V Vietnam War, 50 W Wada, Akiko, 134, 141–2, 148–50 Wasurerareta kōgun See Forgotten Imperial Army, The Where is the Moon? [Tsuki wa dotchi ni dete iru], 16, 88–96 Y yakuza films, 10, 101–28 Yakuza Graveyard [Yakuza no hakaba: kuchinashi no hana], 104, 136 Yakuza no hakaba: kuchinashi no hana See Yakuza Graveyard Yamagata International Documentary Film Festival (YIDFF), 14–15, 76 INDEX Yang, Yonghi, 190–1, 193, 208–11 Yomota, Inuhiko, 17, 27, 60, 88–9 Yoru o kakete See Through the Night You and I [Kimi to boku], Yunbogi no nikki See Diary of Yunbogi, The Yun no machi See Yun’s Town Yun’s Town [Yun no machi], 84–8, 136 Z Zainichi Korean citizenship status, 5–6, 13 235 civil rights movement, 12, 70, 142 as ethnic taboo, 117, 132, 204–6 fingerprinting of, 6, 13, 70 Japanese name [tsūmei], 7, 45, 145 naturalizing as Japanese, newsreels, 8, 10 ‘post-Zainichi’, 2, 19–20, 152 repatriation programme 1959-84, 8, 58, 209–11 Zainichi Korean History Museum, 18, 22, 199 Zainichi: The Story of Koreans in Postwar Japan [Sengo Zainichi gojūnenshi: Zainichi], 199–200 ... cycle of Zainichi cinema; this is the point at which we can call Zainichi cinema an (intermittent) production category In the 1970s, however, just as this cycle was first emerging, Zainichi cinema. .. augmented space to discuss Zainichi representations post-1990 Acknowledging the position that cinema had acquired within Zainichi discourse, when the Zainichi Korean History Museum (Zainichi kanjin rekishi... examines Zainichi cinema as practices of producing, curating, exhibiting, viewing, and critiquing film images of Koreans-in-Japan (Zainichi Koreans, often just referred to as Zainichi) Zainichi