Abstract
This paper considers films directed by women adoptees not as a personal or family issue but as socio-political statements by applying the methodological frameworks of feminism, post-colonialism and the study of diaspora. These films contain a view of marginal persons standing on the periphery. Korean international adoptees have experienced confused lives between two different contexts, Korea and the West. By focusing on their films from the perspective of marginal persons, it is possible to understand the potential importance of the adoptees. Producing a film for the directors is to practice and express a strong personal subject. This not only originates out of the need to create an aesthetic object but also comprises a step in reconstructing and practicing their personal experience.
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