2 edition of Chagŭn pʻullip hana found in the catalog.
|The Physical Object|
|Pagination||xvi, 77 p. :|
|Number of Pages||64|
|2||Hyehwadang sisŏn -- 21|
nodata File Size: 8MB.
No dir: Terence Young, 1962 in 1965, the spy film trend started to boom and international spy films set in Hong Kong or Japan were briskly produced after 1966. On the internet, the community board Ilbe, mainly operated by far-right netizens, publicly advocates a twisted form of patriotism and anti-North Koreanism.
In particular, they faced challenges in reflecting, reproducing, and playing variations of generational attitudes towards anticommunism Byun, Jai-Ran.
The many controversies over the coexistence of anticommunism and humanism in 1950—60s anticommunist films brought the ruling class to tolerate the Chagŭn pʻullip hana of the two in the end. The goal of this paper is to grasp the relationship of coexistence, and at times, discord, between anticommunism and popular culture through a historical and chronological survey.
It could be said post-1990 war films were fated to become commercial films filled with mostly nationalist sentiment that aimed for popular themes of humanism through a critical viewpoint of the South Korean government.
This reflected 1950s anticommunism which deliberately situated Korea as the frontline of the Free World against the Communist Bloc. Spy films descending from past anticommunist films are also a form of media which circulate this new variant of anti-North Koreanism. Female spies did not exist as selves who acted accordingly to their beliefs and values, but were merely depicted as taking orders from authorities behind the scenes or forced to give up their espionage after falling into the dilemma of love.
Although the world has now long left the Cold War period behind, the Cold War situation of tension in the Korean peninsula continues and anticommunism still wields a strong influence. In late 2011, comprehensive television programming channels broadcast the first airwaves of programming on North Korea in various forms. This North Korean army general differs from the archetypical communist of past anticommunist films who were coarse and inhumane and existed to show the cruelty of communism; he flaunts a unique charisma and even has a human side, giving the student soldiers time to surrender for the reason Chagŭn pʻullip hana they were students and not soldiers.
Thus discussions of unification were only possible when armed with an anticommunist consciousness which should be practiced as a requisite condition for South-North dialogue. Collaborators are quickly dealt with but the punishment of pro-Japanese is unfinished to an extent that it is equivocal. This is why anticommunism and popular culture are fundamentally at odds with one another.
The attention to the wartime period after liberation in particular meant that the South Korean government was endowed with the legitimacy of establishing the nation.