Labeling of North Korean Refugees in the Post-Cold War Era: A Quantitative Analysis of the South Korean Academic Literature

2018 ◽  
Vol 8 (2) ◽  
pp. 30-57
Author(s):  
리카르도 ◽  
Miyoung Jeon
2020 ◽  
Vol 17 (2) ◽  
pp. 325-338
Author(s):  
Jin Woong Kang

This article examines the differentiated identities of North Koreans in South Korea and beyond in terms of transnational migration and contested nationhood. In the post-Cold War era, North Koreans in South Korea have been marginalised as a social minority, and comprise a subaltern group within South Korea, despite having South Korean citizenship. As a result, many North Korean refugees, including those who have already gained South Korean citizenship, have migrated to Western countries for a better life in terms of wealth and welfare. As active agents, they have pursued strategic lives in the host countries’ multicultural societies and Korean communities. Through complex transnational migration to South Korea and elsewhere, North Koreans have reformulated nationhood by contesting the idea of a “homogeneous nation” of Korea. This article focuses on how North Koreans have shaped their own Koreanness in the multicultural societies of the United States and the United Kingdom as well as in the hierarchical nationhood of South Korea. By doing so, it offers an alternative framework for looking at the multifarious identities of North Korean refugees globally.


1997 ◽  
pp. 24-38
Author(s):  
Fernando Henrique Cardoso

2018 ◽  
Vol 23 (1) ◽  
pp. 135-152 ◽  
Author(s):  
Hye Seung Chung

Abstract This article examines the commercially successful multicultural film Punch (Wan-dŭk i, Yi Han, 2011) as an example of new “enlightenment” (kaemong) cinema, one that—like its precedents in the South Korean Golden Age cinema of the 1950s and 1960s—supports the official government policy. While classic enlightenment films made during the Cold War era endorsed state-sanctioned narratives of anticommunism, modernization, and development, Punch toes the line of the South Korean government’s millennial project of multiculturalism (tamunhwa). Despite its intent to create a hopeful, affirmative message of tolerance and inclusion, Punch ironically silences the dissenting voice of a migrant bride character (played by Jasmine Lee, a Philippine-born TV personality-turned-representative in the National Assembly) who remains marginalized and peripheral in the masculine narrative wherein male bonding and mentoring reign supreme.


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