• The Journal of the Korea Contents Association
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• v.18 no.12
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• pp.364-371
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• 2018

In the 1960s, both South and North Korea needed to stabilize their regimes, and propaganda films were at the core of establishing this purpose. South Korea claimed legitimacy of a military government and called for service to fulfill the government's mission of the era, while North Korea emphasized the impeccability of their leader and the superiority of their socialist system. This study investigates image reproduction strategies used in South and North Korean propaganda films at the time under the context of domestic and foreign environments in the 1960s. First, South and North Korea portrayed their rulers as a strong leader and friendly leader, respectively, to establish legitimacy. Second, South and North Korea tried to image the same incident from different views in order to instill the spirit of age defined from their own perspectives. Third, propaganda films at the time portrayed desirable images of citizens (people) and visualized a flawless government. Authoritarian governments in South and North Korea in the 1960s facilitated the establishment of the so-called official society through propaganda films.

• Cartoon and Animation Studies
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• s.40
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• pp.83-107
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• 2015

Propaganda is often accepted as the political promotion that had used mostly by the socialist states during the First and the Second World Wars and the Cold War and by Hitler who governed Germany. Therefore, cases of the study on the image and picture propaganda were mostly posters or films of the socialism period when the propaganda was active. However, today it is not easy any more to find propaganda of the clear promotion characteristic as the past. In these modern times, it has changed into metaphorical propaganda based on 'persuasion', rather than publicity like past. Therefore, it has been changing from the direct promotion of the past into the indirect persuasion; and from the raw, direct and powerful publicity and claim into the soft and metaphorical persuasion and appeal. Thus, investigating again the contemporary propaganda will be an important element in analyzing contemporary images. The animation, selected as a target of the analysis of propaganda, exists in various ways in various images of the modern times, which is not too much to say that today's society is the television society. Besides, the animation is the image that can cover all ages as men and women of all ages can watch, so it is proper for analysis of the contemporary propaganda of metaphorical, indirect and various forms.

• Cartoon and Animation Studies
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• s.15
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• pp.49-71
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• 2009

This study analyzes Kureougy Balmyungwang (Prankster Invention King), produced by Chung-ki Kim in 1984. [Prankster Invention King (Kureougy Balmyungwang)] has been known as science education film. However, around the time this film was produced in 1980s in South Korea, Science and Technology is basis for development of nation driven by military dictatorship for increasing national welfare and individual capability. In this regards, Kureougy Balmyungwang (Prankster Invention King) is an animated movie not only about education and science, but also a propaganda describing children making every effort to develop their country by scientific research. In this regards, this film is in accordance with Director Kim's other animated films such as General Toli, who also served for the government, advertising its policy. This article compares and analyzes Kureougy Balmyungwang (Prankster Invention King) with various propaganda works after World War I, to clarify the propaganda characteristic and contemplate the contemporary meaning of this work.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.7 no.6
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• pp.1407-1415
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• 2006

Japan started to colonize Korea in 1910. It's when It forced and made Chosun sign on the Treaty of Protectorate. The Chosun faithfully practiced Japan's colonial policy over Korea. Futhermore, it stopped many Koreans from an anti-Japanese movement and tried to make Koreans have a positive attitude towards Japan. For this, Japan advertised the policy called Nae-sun-il-che which meant Korea and Japan were a community together from the same root. Ultimately, it targeted on absorbing Korea within their territory. With this goal, Japan kept on practicing the policy to acculturize and brainwash Koreans, totally depending on force and pressure from 1910 to 1919. However, this policy had changed by the overall anti-Japanese movement happening on March 1st 1919. Saito, the third governor-general who was appointed laster on, made an effort to win over He favor of Koreans in a less forceful way of the cultural politics. The change of policy had been specified in diverse actions such as permitting civil mass-media bodies forming the observation groups and opening conferences. In the case of daily newspapers, Japan had permitted only the ones by the Government-General of Chosun such as Maeil-shinbo, Kyunsung-ilbo, and Seoul Press before, but then other civil newspapers In Korean stated to be released. Along His Japan formed both Korean and Japanese observation groups to promote the mutual understanding and showed off Japan's goods in the propaganda films by implementing a film department. It's because Japan totally recognized and understood the impact of films. Therefore, Japan distincitively established a film agency for the production of propaganda movies while it banned the civil film production after 1937 when Japan started the war against China and USA in row. So, only one film agency, ruled by the Government-General of Chosun, produced movies from 1942 to 1945.

• Archives of design research
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• v.19 no.5 s.67
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• pp.139-150
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• 2006

Over the past half the 20th century, Korea has been through the period of three dictatorial regimes. In each regime the orthodox problem was raised due to its undemocratic ruling. Nationalism in particular was perverted by the authoritarian regimes' exploitation of it as a form of cultural policy to control their people effectively. To emphasize it's ideology the government sought, selected and devised cultural heritage and defined it as the 'Korean cultural identity' or 'Koreaness'. Artists have produced works in the 'Korean style' focused on 'Koreaness' which had been prescribed by the government. These works were sewed as a propaganda and contributed to the reproduction of ideology. In addition to the 'Korean-style design' formed in this period, this case includes a wide range of environmental design, public construction, graphic design, public design, films, etc. The Korean-style design has been developed in accordance with each government's cultural policy with a little difference in content and form.

• Trans-
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• v.2
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• pp.39-58
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• 2017

This essay aims to examine Korean motion picture policy on the government censorship system from Jacques Derrida's thought associated with sense of ethics. Korean motion picture policy has focused on protection of domestic films to achieve a national goal from military dictatorship regime, so-called people unification or social stability. It also aimed to spread propaganda for despotic government. Thus, the government keeps tight control over all motion picture policy. It restricts not only freedom of choosing movies but also creativity from artist. Derrida used to talk about the justice and violence law. Derrida's thought is connected with the ethical consideration. This research concerned about the violence within film censorship policy of Korean government and explore possibilities of ethical censorship policy from Derrida's perspectives.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.7 no.5
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• pp.982-991
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• 2006

The screen quota system is one of the most controversial issues in the Korean film industry. There are two different points of view regarding the system. Some say it is highly effective to protect and nurture Korean movies. However, others argue that it hurts the duality of the Korean movies. The number of days, for which Korean movies have to play on local screens, has been reduced to 73, starting on July 1st, 2006. Actually, it is 50 percent fewer than the previous year. In facL Korea has implemented the screen quota. system two times. First, it was practiced from 1935 to 1945, during the Japanese colonial period. This was to regulate imported movies, especially American ones, as the Japanese government was to use movies for the political propaganda. In 1935, the number of foreign movies screened had to be less than three fourths of the total. And they gradually reduced the size by two thirds in 1936, and again by half in 1937. After the attack on Pearl Harbor when the Pacific War happened, Japan completely banned importing American movies in Korea. The reason why it regulated the imported foreign films is to increase the number of domestic movies, both Japanese and Korean. It was for making propaganda films fur carrying the war. The second practice of the screen quota is from 1967 to the present year. It was designed to boom the Korean film industry. However, the competitive power of Korean films has not been improved in spite of the practice of the system. Moreover, the film industry has gone through the depression. Korean film agencies have occupied the Korean film market thanks to the protection by government. The founding of the film agencies has been strongly regulated. So has importing foreign movies. Under the special protection like this, Korean film agencies have been enjoying the monopoly In the mean time, they have pursued income not by making quality movies but by importing foreign movies. As a result, cinema audiences turn away form Korean films and prefer foreign movies. Furthermore, the screen quota system hurts the relationship between film producers and distributors, imposing the duties only on theaters. In short, the screen quota system has satisfied neither film producers, theater runners, nor film goers. In other words. the excessive protection has weakened the competitive power of Korean film industry.

• The Journal of the Korea Contents Association
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• v.17 no.11
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• pp.82-89
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• 2017

This paper intends to examine how North Korea has incited and persuaded its people by figuring out the structure regarding the meaning creation of its documentary film "Kim Jong-un, the Respected Comrade Supreme Commander, Giving On-site Guidance on the Grand Project of the People's Army" produced in 2015, which was North Korea's politically important year. The analysis results show that its narrative structure of the film took the form of an introduction, body, and conclusion to substantiate it obviously given theme. Its imaging techniques are geared towards uplifting the public's combat mentality and its sound contributes to achieving their adherence. In this regard, its film literature has the following meaning structure: first, the film takes the form of both film annals and the structure for the public to easily comprehend; second, the film clearly demonstrates its deep-rooted theme asking for the public to follow in the footsteps of the party's late father for its leadership; and third, the film also aims to establish the images of an always awake working leader by implanting and arranging the leader's diligence about his revolutionary activities in the documentary film. North Korea's documentary films serve as a weapon used for instigating revolution and construction. Given this, the producers of all documentary films have made sure to turn film literatures into the film literatures of the great leader. It was identified that under the social vision that the Kim Jong-un regime is a "socialist civilized country", he has tightened his grip on power in North Korea through the propaganda tool of film literatures.

• Journal of English Language & Literature
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• v.64 no.3
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• pp.453-468
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• 2018

Nat Turner's rebellion in 1831 was considered pre Civil War South's most dreadful nightmare due to the merciless murder of white slave owner victims. The motive of vengeance has been emphasized as that of Turner's notorious black preacher religious fanaticism. However, the recent film, The Birth of a Nation (2016) directed by Nate Parker, utilized the identical title of a film (1915) directed by D. W. Griffith. Providing limited evidence, information about the rebellion in Thomas Gray's pamphlet The Confessions of Nat Turner (1831), was the only accessible historical source for the factual event of the slaves' rebellion. In addition, William Styron's The Confessions of Turner (1967), a fictionalized biography, also examined Turner's life in the harshness of slavery. Although these two texts deal with the personal level of Nat Turner's rage and religious enthusiasm, both provide only fractured parts of the motive of vengeance. Strikingly, Parker's film interrogates the ideology of "victims," as well as the hierarchical term of "confessions," with their different positions between whites and blacks. More specifically, Parker's film offers discursive fields of proslavery arguments regarding biblical interpretations in addition to external visualization of slaves' inner emotional lives. The film demonstrates how the institution of slavery allowed slaves to be exploited, beaten, raped, through interrogating the problematic image of the "contested hero" Nat Turner. In contrast to the traditional image of blacks' bloody rebellion, the film underlines the absurdity of certain Biblical misinterpretations. It furthermore implies how the 1915 film manipulated proslavery propaganda in America.

• Korean journal of communication and information
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• v.77
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• pp.137-163
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• 2016

In the early 1900, photography, magic lantern and cinema were simultaneously introduced and experienced until the mid-1910s as mysterious and magical symbol of modern science and technology. The technology of vision, cinema in particular demonstrated its commercially expandable potentials through serial films in the mid-1910s, silent cinema in the 1920s and talkies in 1930s. I argue that a metaphor 'like a movie' which was would be spoken out by peoples as a cliche ever since the late 1910s whenever they encountered something uncanny, mysterious, and looking wholly new phenomena informs how cinematic technology worked in colonial society at the turning point to the early 20th century. Mass in colonial society accepted cinema and other visual technologies not only as an advanced science of the times but as texts of modernity that is the reason why cinema had so quickly taken cultural hegemony over the colony. Until the mid-1920s, discourse on cinema focused not on cinema itself, rather more on the theatre matters such as hygiene, facilities for public use, disturbance, quarrels and fights, theft, and etc. Since the mid-1920s and especially in wartime 1930s, discourses about negative influences and effects of cinema on behavior, mind and spirit of masses, bodily health, morality and crime were articulated and delivered by Japanese authorities and agencies like as police, newspapers and magazines, and collaborate Korean intellectuals. Theories and research reports stemming from disciplines of psychology, sociology, and mass-psychology that emphasized vulnerability and susceptibility of the crowd and mass consumers who would be exposed to visual images, spectacles and strong toxic stimulus in everyday lives. Those negative discourse on influences and effects of cinema was intimately associated with fear of the crowd and mass as well as new technology which does not allow clear understanding about how it works in future. The fact that cinema as a technology of vision could be used as an apparatus of ideology and propaganda stirred up doubts and pessimistic perspectives on cinema influence. Discourse on visual technology cinema constructed under colonial governance is doomed to be technology of mass control for empire's own sake.