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Nationalism, subalternity, and the adopted Koreans
Stockholm University, Faculty of Humanities, Department of Oriental Languages.
2007 (English)In: Journal of women's history, ISSN 1042-7961, E-ISSN 1527-2036, Vol. 19, no 1, 117-122 p.Article in journal (Refereed) Published
Abstract [en]

Since the end of the Korean War in 1953, more than 160,000 Korean children have been adopted to fifteen Western countries. The United States has taken in two thirds, while the rest are spread out in northwestern Europe, Canada, Australia, and New Zealand. During recent years, overseas adopted Koreans have increasingly turned up in various Korean popular cultural works including musicals, comics, pop songs, television dramas, and feature films. This article looks specifically at representations of female overseas adoptees in four Korean feature films: Chang Kil-su’s Susanne Brink’s Arirang Ki-duk’s Wild Animals (1997), and Lee Jang-soo’s Love (1999). At the end, the adopted Koreans are conceptualized as subaltern bodies, once commodified and disposable and now deprived of their voices and turned into mute artifacts of patriarchal nationalist ideology. (1991), Park Kwang-su’s Berlin Report (1991), Kim Ki-duk’s Wild Animals (1997), and Lee Jang-soo’s Love (1999). At the end, the adopted Koreans are conceptualized as subaltern bodies, once commodified and disposable and now deprived of their voices and turned into mute artifacts of patriarchal nationalist ideology.

Place, publisher, year, edition, pages
The Johns Hopkins University Press , 2007. Vol. 19, no 1, 117-122 p.
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History
Identifiers
URN: urn:nbn:se:su:diva-57090DOI: 10.1353/jowh.2007.0015ISI: 000244668600009OAI: oai:DiVA.org:su-57090DiVA: diva2:414400
Note
authorCount :1Available from: 2011-05-03 Created: 2011-05-03 Last updated: 2017-12-11Bibliographically approved

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