• The Southeast Asian review
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• v.28 no.1
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• pp.83-120
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• 2018

For Singapore, 2017 was an uneasy year. The presidential election was fraught with controversy since the revised Presidential Election Act allowed only one candidate to be eligible for the election. The bitter feud between Prime Minister Lee Hsien Loong and his siblings shocked many Singaporeans. Succession planning for the next top leadership is still veiled in obscurity. The anti-globalization trend and the increasing pressure to raise the tax have become major challenges for Singapore's economy to overcome. China's continuous diplomatic pressure has called into the question Singapore's pragmatic foreign policy. Although its relations with China were back to normal, Singapore, the ASEAN chair in 2018, is still facing intractable problems in safeguarding ASEAN centrality in the growing US-China rivalry. In the meantime, Singapore has pursued its diversity and equality, heading toward a more matured multi-racial and multi-cultural society in 2017. The first female president, Halimah Yacob, served as a symbolic epitome of Singapore's emphasis on diversity and harmony among different ethnic groups and minorities. This great milestone, however, has largely been questioned by Singaporeans, as it seemed to be a political gesture that only utilized Halimah's double minority in the level of ideologies. The election of the Malay president has led Singaporeans to think about the real equity and equality among minorities, while strongly motivated to move toward a more inclusive society. In 2018, Singaporean leaders will try to resolve many challenging problems by reaffirming leadership succession planning, which is expected to lead Singapore to pursue a more integrated society.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.9-41
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• 2020

Park Jong-won's debut film "Guro Arirang," based on a short story of the same title by Lee Moon-yeol, is the first commercial film to deal with labor struggles from a worker's point of view in the wake of the 1987 democratic movement, and a pioneering work in terms of representing female workers the Korean cinema has traditionally turned away from. In this film Park Jong-won tried to win the sympathy of the middle class for labor movement in spite of the red scare which still stood firm in the Korean society at that time. To convey its progressive message in a form acceptable to the middle class public, the film portrays labor issues in the light of universal humanity and ethics, not in terms of class hostility or struggle. Park Jong-won calls this point of view "common sense of normal people" and emphasizes its universality and objectivity. This study critically examines the cinematic strategies to deal with labor issues in a form acceptable to the public in a conventional and commercial film and the ideological implications of the "common sense of normal people" reflected in such strategies. The first chapter of the study reveals that the film destroys the irony of the original story and reduces the complex constellation of the characters to the conflict between pure good and evil, creating a melodramatic composition in which the good falls victim to evil. The tragedies suffered by the workers in the film are of course intended to arouse the audience's strong sympathy and solidarity with them. The second chapter shows that the film's various scenes and episodes converge on the them of compassion and grief, and are mostly based on cultural and real experiences and events that caused great public sensations at that time. Especially in the last decisive scene of the movie, the memory of the June 1987 uprising is strongly recalled. So "Guro Arirang" can be seen as a patchwork of proven cases of compassion and grief. The third chapter examines the implications of the scene where the workers turn back demands for wages and put the issues of human treatment and trust to the forefront at the crucial moment of their struggle. It appeals to universal moral values and sentiments that everyone has to acknowledge and removes the political dimension from the workers' campaign. While the film tends to become a pure story of humanity marginalizing irreconcilable conflicts of class interest, the workers fall to the position of passive victims who can be deeply sympathetic on the one hand, and on the other, are idealized as leaders with noble attitude keeping themselves aloof from the hard reality. As a result, the movie loses its realistic ground and weakens its narrative probability. The scenes reminiscent of the 1987 uprising which evoke the solidarity between working and middle class fail to integrate harmoniously into the whole story of the film and remain only as fragmentary parts of the patchwork of compassion and grief.