
Han Ji-min, in an interview the presentation quotes, said she wanted the film to show a dark and painful reality, more than to satisfy an actor’s ambition.
Lee Ji-won’s Miss Baek, from 2018, is the film a Korean presentation starts from when it wants to talk about child abuse without leaving the harm inside one family. Han Ji-min plays Baek Sang-ah. In an interview the presentation quotes, she said that more than an actor’s ambition, she had wanted a dark and painful reality to be visible on screen.
That remark is kept because it matches the use the classroom text makes of the film. The picture is not treated as a closed story. It is treated as a way of looking again at something already in the news.
The presentation names, as a motif, the Incheon case of a girl who escaped barefoot — a case that was widely discussed in Korea at the time the film was being talked about. Beside the film, the same pages note sentences then reported as confirmed: ten years for the girl’s father and the woman living with him, and four years for a friend who took part in the abuse.
Those numbers are left in the past tense of that report. They are not re-tried here, and they are not used to decorate a plot summary. They are there to shrink the distance the writer feels between a fiction and a public injury.
The turn the presentation most wants is simple, and it is the one this page keeps: abuse of a child is not only a private tragedy. It is a social problem, and a film can be a way of saying so without first putting the audience through a statute. The original classroom text then opens into legal definitions, cause theories, and tables of penalties. Those lists are not repeated here.
What remains is a 2018 film, an actress who said she wanted a painful reality visible, a public case used as a motif, and a refusal to leave the harm inside one house. A Korean account of that refusal, at greater length, sits on CampusDown.
Last updated 15 November 2026
Lee Ji-won directed the 2018 film. Han Ji-min plays Baek Sang-ah. A Korean classroom presentation uses the picture, and the actress’s remarks about it, as a way into a social reading of child abuse.
It names the Incheon case of a girl who escaped barefoot, widely discussed at the time, as a motif for the film. The same pages record sentences, as then reported, of ten years for the girl’s father and his partner, and four years for an accomplice. Those figures belong to that account of the case, not to a fresh verdict written here.
A private tragedy only. It asks that harm to a child be read as a social problem, and then, in the original classroom text, opens into definitions and typologies this page does not repeat. The useful turn is the first one: a film and a public case, held together, so that the injury cannot be left inside a single house.
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