ABSTRACT
Forwarding a feminist refugee analysis, I argue that despite the portrayals of traditional motherhood as ever sacrificing for their progeny and the risk of falling into patriarchal representations, Jero Yun's films can be seen as opening different women and motherly subjectivities. The refugee women's money-making and monetary remittances comprise tangible material evidence for their existence. The films’ use of close-ups on the women's faces, silence, and gendered mobility invokes the realization of the women's collaged subjectivity, which has never surrendered its totality.
