아시아-태평양 지역의 이주와 트랜스내셔널리즘 해외입양인 내러티브에 나타난 침묵된 이주와 죽음의 이미지〈여행자〉와 〈귀향〉을 중심으로 = Silent Migration and Images of Death in a Brand New Life and in a Blind River

다국어 초록 (Multilingual Abstract)

The objective of this article is to examine the silent migration and the images of death reflected in Korean adoptees` narratives, specifically in the recently released movies, Ounie Lecomte`s A Brand New Life (2009) and Sun-kyoung Ahn`s A Blind River (2009). This study is interdisciplinary in that it combines the historical and social context of international adoption in Korea and Avery F. Gordon`s theoretical meditation on haunting and the appearance of the ghost. The notion of the past that haunts the present can affect inquiry into the economic and political system of Korea which exerted on practices of social disappearance by sending their children out by overseas adoption, the consequence of which comes as the returning of the dead, the ghost of the past or the adopted Koreans from overseas. The history that constituted the silent migration uprooted the children out of their motherland, doffed their Korean?ness, and made them disappear from the birth country. The study is divided into four sections. The first section briefly introduces the history of international adoption in Korea and Gordon`s arguments on the socio-political/socio-cultural significance of the ghost. The second section offers the cinematic representations of an adopted Korean, Jin-hee, in A Brand New Lif-the movie portrays Korea in the 1970s, together with the fragmented pieces of memory of the Korean War, the period where the international adoption first broke out-and it analyzes the images of death through the process of uprootedness from her birth country to her silent migration to France. The third section engages with the issue of birth mothers and the returning of Korean adoptees by presenting the narratives of Sung-chan`s and So-yeon`s one by one, step by step in A Blind River. The movie deals with the period from the mid-1970s to the present, which excavates silent migration and epitomizes the images of death, that continues the circulation of han, the grudge in Korean history.

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