• 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.

• The Journal of the Korea Contents Association
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• v.16 no.5
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• pp.327-334
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• 2016

From the present perspective, North Korea overcame its crisis situation of the regime, the Arduous March. What was the driving force, enabling the regime to overcome the situation that could have been collapsed? This study intended to look into what strategy the North Korean government took to unite the social minds through its documentary films in the midst of the national crisis. The results of analysis are as follows. First, the documentary films emphasize that the people should become heroes in heroic fantasies. These films present the model cases, in which the people break through the hardships with their strong willpower, as an answer. Second, they mind the defeatism and encourage the triumphalism. They stress the importance of uniting collective minds as a breakthrough in overcoming the economic crisis. Third, they place an emphasis on creating the harmonized minds. They repeat the recovery of communistic morality, which has been emphasized up to date. Collective minds are eventually the outcome obtained from social experiences. North Korea stresses to convert the arduous march into the march to the paradise by the creation of collective minds through documentary films even in difficult realities.

• 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.

• International Journal of Contents
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• v.5 no.3
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• pp.91-97
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• 2009

This research is a study of the documentary film entitled "Korean War." My research focuses on the collective trauma and amnesia of the Korean War among the people of the U.S. in an effort to understand ongoing tensions between the U.S. and the two Koreas, both North and South. A study of the film also gives a way to read the hidden meaning of the film through deconstructing the film with Peircian semiotics, and scrutinizing its artistic choices of visual language. This study provides a review of the theory of trauma. It also gives insight into understanding the perceptions of the Korean War in the U.S.

• Korean journal of communication and information
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• v.50
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• pp.50-72
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• 2010

The purpose of this study was to investigate representation of media on Korean controversial historical incidents and its myth and ideology. Especially the authors paid attention to the MBC-TV Documentary which had dealt with many controversial issues in Korean society. Those issues had never been dealt by other Korean media before it began to do. Three episodes about the South-North Korea related issues were selected as main object of this study and were analyzed with various semiotic research methods, especially, paradigmatic analytical method, narrative analytic method and mythical analytic method. As a main result of this study, it was found that the Documentary tended to represent such controversial historical issues very differently from the previous representations of old newspapers'. Th e old newspapers tried to establish old myths; that is, 'myth of national crisis', 'myth of anti-communism', 'myth of scapegoat of college students', 'myth of intelligent agency's monopoly', 'myth of social stablization', etc, while the documentary changed to build up new myths; that is, 'myth of humanities', 'myth of peaceful unification', 'myth of freedom and democracy', 'myth of human rights, etc.' In short, it was concluded that the documentary was able to change some previous myths and ideologies through its changing representations.

• The Journal of the Korea Contents Association
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• v.13 no.7
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• pp.38-50
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• 2013

This paper analyzes director Yang Yong-hi's documentary films "Dear Pyongyang"(2006), "Goodbye, Pyongyang"(2009) and her fiction film "Our Homeland"(2012). These films were produced on the base of the director's autobiographical experience, and raise issue of Jainichi-Korean diaspora who be caught in nation-state; North Korea, South Korea and Japan. With the family narratives crossing Jeju, Osaka, and Pyongyang, these films doubt boundaries be set by nation-state, and seek new breakout space. This paper traces restructuring identity in the tensional heterogeneity of nation-state exaction; Integration, unity, uniform education. In conclusion, these films foresee Korean diaspora's future identity from hybrid identities. It shows Korean diaspora's potential of receptivity, openness and solidarity which are required for Northeast Asian peace and the solution of two Korea's hostility.