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The plays and films of Kim Sujin (1954 ) and his company Shinjuku Ryozanpaku attest to the variety of styles employed in recent works by resident Korean artists in Japanese literature and theatre. The appearance of his plays and films is connected to the changing identities of resident
Koreans, especially since the 1980s. Kim makes use of political theatre performances of the earlier period to magnify and to remake into art the experiences of resident Koreans in Japan. As such, his works mobilize the legacy of his antecedents in Japanese theatre as well as the past experiences
of resident Koreans. Instead of enacting an essential Korean ethnicity or culture onstage or through films, Kim inclines toward denoting migration, hybridity and being situated as betwixt and between. By doing so, his works depict the distinct niche occupied by resident Koreans in Japan, which
distinguishes them from both the Koreans on the mainland and the Japanese.
The Journal of Japanese and Korean Cinema is a fully refereed forum for the dissemination of scholarly work devoted to the cinemas of Japan and Korea and the interactions and relations between them. The increasingly transnational status of Japanese and Korean cinema underlines the need to deepen our understanding of this ever more globalized film-making region.