This study focuses on "Chosunjok"(ethnic Koreans living in China), an ethnic group classified as a minority in Korea and China, and looks into which image the Korean media represents them as well as which ways of representation is being used through n...
This study focuses on "Chosunjok"(ethnic Koreans living in China), an ethnic group classified as a minority in Korea and China, and looks into which image the Korean media represents them as well as which ways of representation is being used through narrative analysis. Here, some programs of Korean terrestial broadcast channels such as <Panorama> (KBS), <Documentary: 3 days>(KBS) and <MBC Special> (MBC) that deal with the subject ‘compatriot’ have been studied and looked into their ways of representation. Rather than simply observing the way Chosunjoks are reproduced, each documentary’s story and discourse has been analysed to understand the characteristics of such representation. Based on this observation, this study considers the basis on which the way of representing Chosunjoks becomes otherized.
First, in the aspect of story analysis, which is an integration analysis, each text develops the story in the format of four steps of composition(introduction-development-turn-conclusion). This structure expresses the image of Chosunjok through a story that standardizes their image, and delivers their diverse problems ranging from doubt of identity, otherization and the problems of the Chinese Chosunjok community to viewers.
Regarding Chosunjoks, they are representedas people who have to give up the ‘Korean dream’, their problems are synchronically downscaled to the private range and remediations or resolutions are suggested within this scale only. In paradigmatic analysis, binominal opposition structural factors such as ‘compatriot/emigrant, Korean/Chinese, Korean language/Chinese language, tolerance/ discrimination, developed country/developing country’ were used and analysed to find out whether such meanings and values were included. Using the values of these binominal oppositions, the main characters’ semantic range is specified as stranger, labor worker with so-called ‘3D’occupations as well as negative object with problems. While representing these meanings, it was found that separate representation and misrepresentation were used, and contents and values of the ‘compatriot argument’ that were widely accomodated by the Korean people were incorporated. Also, based on the financial gap between native Koreans and Chosunjoks, the Korean way of looking at Chosunjok resembles that of Orientalism adopted by the Western countries towards the Orient, which results in discriminating standards or such perception towards Chosunjoks.
Secondly, in the aspect of discourse analysis, contents about Chosunjoks’ exotic ambience or image of minority is delivered through statement expression and image expression. The sender’s statement expression and image expression delivers contents by direct discourse, and uses mis-en-scene camera techniques and background music to grant persuasion to the sender’s argument and indirectly deliver contents to viewers. Based on this way of representation of Chosunjoks, a method of discrimination was found, which can be labeled as ‘projecting a deterritorialized identity’, ‘representation of an exotic person trying to obtain financial profit’, ‘labeling as an inferior being or a person expecting help from native Koreans’, ‘oppressing as labors working in '3D' fields and dreaming of the ‘Korean dream’, and ‘objectificating as a person from developing country with many problems’. That is, Chosunjoks are separated as foreigners or victims of ‘Korean immigration’, or objects of charity or persons that yearn for the Korean life. Through this projection, the image of Chosunjoks is stereotyped, which generates consensus amongst Koreans. This art of expression is a form of internalized exclusive unity nationalism and racial rank, which reproduces the same ideology as that of white supremacy. In this way, the ‘compatriot discourse’ which emphasizes discriminative ethnic and racial form is being reproduced. Eventually, discrimination towards Chosunjoks is found in social regards, values and code in documentaries.
Ultiately, the contents of documentaries about Chosunjoks are defined by the Korean view and values, in which Chosunjoks’ comments and arguments are standardized by dominant media discourse, rather than Chosunjoks being represented as having their own perspectives. Also in Korean mainstream media, the representation of Chosunjoks’ image is dominated by existing perceptions, which results in delivering the same existing representation as well as using and reproducing the meaning of the discriminated minority.
，韩语论文网站，韩语论文 |
