Joint Security Area (2001): A Symbol of the 90s Korean Film Industry

As mentioned in this week’s reading by Robinson, Korea’s culture industry went through a transition when the government relaxed its censorship restrictions. This led to a new generation of artists and filmmakers in the country. One these famous filmmakers, Park Chan-wook, is an example of this shift in Korea’s society His directing ability and films are not just famous in South Korea, but also worldwide with films such as Oldboy and Sympathy for Lady Vengeance. A brief overview of one of his films, Joint Security Area (2000), is linked below to provide context which I will use to explore Robinson’s text

I believe that  Joint Security Area (2000), directed by Park Chan-wook, does an excellent job at showcasing the social changes that the new generation of filmmakers and artists brought about. The film is set in the late 1990s/early 2000s and follows the investigation of the murder of two North Korean soldiers stationed along the Korean DMZ. Although the film’s setting is one that is familiar to the previous meta-narratives that existed before censorship restrictions were relaxed, the film merely utilities this setting to tell a mystery thriller film with excellent storytelling and character development. I would highly recommend viewing this film either because of its relevance to our class or even just for enjoyment.

The main distinction of this film is that it humanises North Korea by exploring the friendship that develops between the North and South Korean soldiers stationed along this the political boundary. This approach takes something familiar (the South Korean soldiers) and juxtaposes them with something that is considered dangerous (North Korea) and explores the relationship that forms between both. Just like the soldiers, the film attempts to subvert the political boundary by showing these four soldiers as friends who talk about everyday, relatable topics like the women they’re dating or married to, or playing games like hopscotch. However, the film merely attempts to subvert the boundary as the moments of character development between the soldiers are often cut short by the reality of their situation resurfacing through their duties to their states. Even though it appears clear cut, the story told in the film blurs the line set by the North and South Korean states by showing a meaningful friendship develop between soldiers on both sides. The film raises the stakes on the Korean identity by questioning the viewer on the significance of politics on national and cultural identity through the relationship portrayed between the soldiers.