이승만라인과 재일코리안 표상 = Rhee Syngman Line and Representation of Korean Japanese

다국어 초록 (Multilingual Abstract)

Movie,「That is the light of harbor」is the movie considered a sort of the first work describing today`s Korean Japanese in a quandary between ``Japan and motherland``. However, looking into by putting Rhee line issue spreading the movie in the same age and diplomatic talks among Korea, America, and Japan surrounding North Korea repatriation project and South Korea repatriation project in view, the movie amputates and forgets postwar issues of Japanese colonialism by forcing Kimura hiding his birth to coming out, and by stressing capture outside of Rhee line, covers Japanese diplomatic inequality (=a sense of inferiority) not able to assert ``freedom of the seas`` to America but assert the above principle to Korea with a ground of legal interpretation, and justifies Korean iniquity and illegality. Also, in the movie, the reason why Japanese Korean cannot go back to Korea is handled simply as anxiety of Korean situation (don`t have concern why such anxiety was made) and when looking into diplomatic documents relating to Korean repatriation project at the age, Japanese Korean`s Korea repatriation project was a solution prepared led by America to normalize Korea-Japan relationship which was deteriorated by the Japanese government`s approval of Korea repatriation project but couldn`t be realized by the America`s failure to keep their promise of lending compensation money and resettlement funds. Japan succeeded repatriating Japanese sailors arrested in Busan as accusing America of all the things about the America`s failure to keep their promise and disguising Japanese Korean`s Korea repatriation project as rice import issue. That is, the movie focuses on Korea-Japan issue by eliminating America in the complicatedly conglutinating problems among Korea, Japan and America at the age and in the result can be seen as simplifying Japanese Korean issue.

참고문헌 (Reference)

1 加藤晴子, "｢北鮮送還｣の波紋"

2 국민대학교일본학연구소, "평화선⋅북송⋅6차회담" 동북아역사재 단 112-, 2008

3 鄭大均, "韓国のイメージ" 中公新書 78-, 1995

4 加藤晴子, "迫力ある社会ドラマ｢あれが港の灯だ｣"

5 加藤晴子, "李ラインを描く 今井正監督｢あれが港の?だ｣"

6 宮城雄太郎, "李ラインと日本漁業"

7 張本勲, "朝鮮の母は誇りたかき若者を育てた"

8 南博, "映画にあらわれた国際性"

9 社説, "日韓条約と日本の漁業の進路"

10 高柳俊男, "日本映画のなかの在日コリアン像, In 環" 227-, 2002

11 加藤晴子, "戦後日韓関係史への一考察(下)ー李ライン問題をめぐってー" (29) : 15-, 1978

12 加藤晴子, "戦後日韓関係史への一考察(上)ー李ライン問題をめぐってー" (28) : 22-, 1978

13 椎名麟三, "今週の映画｢あれが港の灯だ｣"

14 佐々木基一, "ナショナリズムの限界"

15 水木洋子, "シナリオ調査"

16 水木洋子, "シナリオ あれが港の灯だ, In 年鑑代表シナリオ集 一九六 一年版 所収" ダヴィッド社 49-, 1962

17 社説, "はかどらぬ日韓会談"

18 加藤晴子, "“李ライン”舞台に人間と民族描く"