Abstract:

Depictions of conflict, frequently in the form of physical violence, occupy a prominent space within Zainichi Korean film. Even the most violent of films, however, depict other divergent forms of interaction that shape social ties and inform explorations of identity. These divergent forms of interaction, in many cases, revolve around the consumption or production of Korean food and frequently take place within the shared culinary space of the Korean restaurant. Focusing on the films Yakiniku Dragon (2018), GO (2001), and Blood and Bones (2004), this article analyzes the ways in which Korean restaurants function as spaces of congregation and healing in Zainichi Korean film and act as interactive spaces that lend themselves to subtle representations of ethnic identity that coalesce around notions of intersection and hybridity. Though food, as a symbolic marker of ethnic identity, is certainly linked to direct confrontation and violence, it is the shared culinary spaces depicted in these films that allow for conflict resolution, connections across divides within the Zainichi Korean community, and the assertion of varied and complex Zainichi Korean subjectivities.

摘要：

对冲突的描述（通常以身体暴力的形式）在《再日》韩国电影中占据着显着的位置。然而，即使是最暴力的电影也描绘了其他不同形式的互动，这些互动形式塑造了社会关系并为身份探索提供了信息。在许多情况下，这些不同形式的互动都围绕着韩国食品的消费或生产，并且经常发生在韩国餐厅的共享烹饪空间内。专注于电影《烤肉龙》 (2018)、《GO》 (2001) 和《血与骨》(2004)，本文分析了韩国餐馆在《在日》韩国电影中作为集会和治疗空间的功能，以及作为互动空间的方式，这些空间有助于微妙地表达种族身份，这些身份融合了交叉和混合的概念。尽管食物作为民族身份的象征，肯定与直接对抗和暴力有关，但正是这些电影中描绘的共享烹饪空间，才能够解决冲突、跨越在日韩社区内部的分歧，以及主张不同的主张。以及复杂的在日韩国主观性。