Blog Elements

Half Sized Blog Element (Single Author Style)

Half Sized Blog Element (Multi Author Style)

South Korea’s Portrayal of North Korea Isn’t A Comedy So Stop Laughing at ‘The Interview’

December 23, 2014/in Entertainment, Movies, Television /by Tamar Herman

James Franco and Seth Rogen think that North Korea is a joke, based on the trailers for The Interview. But South Korea doesn’t really think the same way. North Korea may be a crazy country that allegedly hacked Sony because of a single movie, but South Korea thinks of North Korea less as the deranged cousin […]

Brave Brothers and the Culture Industry

December 22, 2014/in Features, OPINION /by Joe Palmer

South Korea’s Portrayal of North Korea Isn’t A Comedy So Stop Laughing at ‘The Interview’

December 23, 2014/in Entertainment, Movies, Television /by Tamar Herman

Brave Brothers and the Culture Industry

December 22, 2014/in Features, OPINION /by Joe Palmer

Full Sized Blog Element (Big Preview Pic)

South Korea’s Portrayal of North Korea Isn’t A Comedy So Stop Laughing at ‘The Interview’

December 23, 2014/in Entertainment, Movies, Television /by Tamar Herman

James Franco and Seth Rogen think that North Korea is a joke, based on the trailers for The Interview. But South Korea doesn’t really think the same way.

North Korea may be a crazy country that allegedly hacked Sony because of a single movie, but South Korea thinks of North Korea less as the deranged cousin that it doesn’t want to see as much as a long-lost sibling. Sometimes North and South Korea are portrayed as lovers, sometimes as mortal enemies; it just depends on what movie or show you’re watching.

Hot on the heels of one of the biggest entertainment industry hacks in history, the Seth Rogen-James Franco comedy The Interview is all people seem to be able to talk about. And the fact that it is a comedy movie about assassinating the dictator of North Korea, Kim Jong Un, emphasizes how Hollywood thinks that North Korea is a big joke.

“The Interview” via Tumblr

But to South Korea, North Korea is anything but a joke and this can be seen in the variety of ways that North Korea is portrayed in a variety of South Korean films and television shows.

[Spoilers ahead.]

Shiri (1998)

The first film Korean blockbuster, Shiri (also known as Swiri) had it all; explosives, spies, romance, North Korean-South Korean reunification… Yes, Shiri was the first Korean film to really address the fact that North Korea, while depicted as a military state with countless deadly spies, is South Korea’s twin state. The two countries have been divided since the 1940’s and the politicians in the film were meeting to figure out a potential path to reuniting the two halves of the whole. Shiri humanized North Korea in a way that had never been seen in South Korean film.

Also on KultScene: 8 Words You Began Using as a K-Pop Fan

The movie ends with many deaths and a tragic love story between North and South Korean operatives. But the main point of the movie is that they are simply Korean, it doesn’t matter what side of the DMZ (Demilitarized Zone that separates the Koreas) someone lives on. So too, does the shiri fish swims in both North Korean and South Korean waters, but doesn’t know where one country’s waters begin and the others ends.

King 2 Hearts (2012)

A drama in a what-if world where South Korea retained its monarchy after the Korean War, but the countries are still divided. So many different impossible things were going on during this television show that it seems unlikely that anything real was truly represented. But the tensions between North and South Korea, where sometimes the two countries are on the brink of war and other times working together to help the people of both nations, were accurately portrayed.

Also on KultScene: K-Pop Idols And The Formidable American Debut

The idea of North Korea and South Korea being lovers who are separated by outside factors has become a sort of anthropological narrative in South Korea. King 2 Hearts is just one example of a situation where the two lovers, Lee Seung Gi and Ha Ji Won, are stand in for the tempestuous relationship of the country. Unlike Shiri where the lovers were unable to be together due to the differences, King 2 Hearts represents a more hopeful view for the future of the two Koreas.

Secretly, Greatly (2013)

This film takes a different take on the story and instead of showing the relationship between the two countries and the politicians who trying to bring about reunification like the previous examples, Secretly, Greatly shows North Korean spies falling in love with South Korea. The sleeper agents spend several years integrating into South Korean life in order to save their families from torture in North Korea, and after going to South Korea they see what it’s like to be average parts of society. Secretly, Greatly depicts North Korea as a ruthless country that is willing to kill its own elite operatives rather than risk losing those very same spies, and demands everything from its people without giving much back.

The film shows the idea that many South Koreans have of North Korea: it is an evil place that doesn’t care about its people. Secretly, Greatly is itself a comedy, but a dark comedy that is tragic. The leaders of the country are not people to mock, but instead people to be afraid of. It’s a very different take on North Korea than Shiri and King 2 Hearts, but that is because North Korea takes on so many roles as the rival nation to South Korea.

There are countless other Korean portrayals of North Korea: Iris, Doctor Stranger, Joint Security Area, and Taegukgi are just some of the more popular portrayals of North Korea by South Koreans. Many of these, the ones listed and the ones discussed in this article in depth are dramatic, some are comedic, and many are both. But none have evoked the wrath of North Korea by minimizing and mocking the threat that is very real to South Korea.

North Korea is portrayed many ways: lover, potential ally, enemy, etc. But South Korean filmmakers do not mock North Korea as openly as Hollywood’s The Interview, because such a complicated matter does not warrant complete disregard.

What do you think about South Korea’s portrayal of its relationship with North Korea in film and dramaS? Share your comments in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

Brave Brothers and the Culture Industry

December 22, 2014/in Features, OPINION /by Joe Palmer

K-pop exists in a strange musical universe in which the biggest labels can afford to take creative risks and produce the most diverse range of music while the smaller labels have to play it safe and bet on already successful names. While the big three companies (SM Entertainment, JYP Entertainment, and YG Entertainment) often buy songs from foreign songwriters (SHINee’s Lucifer, Girls’ Generation’s Run Devil Run) or use in-house producers, all the smaller labels rely on outside Korean hitmakers to write and produce potential chart toppers. While there are benefits to both methods, the reliance on using the same third party producers is having a negative effect on the creativity of the industry.

In recent times, Brave Brothers (Kang Dong Chul) has been one of the most successful of third party Korean producers. Ever since Sistar’s Alone in 2012, he has been the most prolific and profitable. This song, which promoted Sistar from a lower tier girl group to the top tier of Korean girl groups, gave him a template to work off in order to continue creating commercially and critically successful music. That template is one of a simple verse-chorus-verse-chorus-bridge-chorus structure with similar melodies and usually some sort of hook with “oooohs.” With this template Brave Brothers has led K-Pop into a conveyor belt system.

This may not seem strange to any regular viewer of pop culture as all other pop music markets are the same, but the timing of this for K-Pop makes it even more disheartening. The music landscape of South Korea had been going in an interesting direction with the trend of songs that played with the structure and average traits of a pop song instead of simple “template” songs.

SM were the leaders of this direction with EXO’s Mama, Wolf and Girls’ Generation’s I Got A Boy amongst others. These were songs that required and rewarded repeat listens. They played with the idea of what a pop song could strive to be and saw something so much more than just another cookie cutter production. When they were jarring, they were meant to be so in order to make the listeners actually think about what they were hearing. Even when they weren’t jarring, it was because the songs were produced so masterfully that it was not as noticeable but still always there. They were songs with no obvious chorus or hook, the exact opposite of what Brave Brothers produces.

This style of pop song is not one that is ever consistently popular, however. The fact that this trend lasted over a year in Korea was really exciting. One could see a possible changing of the industry with songs that did not conform to a factory accepted product, somewhere where creativity was put ahead of economy. This was all wishful thinking however, as the paying public did not agree and the companies reverted back to tried and tested ways. Focusing just on SM Entertainment we can see where this failure came from. I Got A Boy was a small seller in terms of the Girls’ Generation giant and received a lot of backlash from fans while EXO experienced their biggest hit with Growl, which was a more standard kind of song compared to Wolf and MAMA.

Also on KultScene: Artist Spotlight: Sistar

At the same time as this progression, Brave Brothers’ regression was also happening. After the success of Sistar, songs like Gone Not Around Any Longer by Sistar19, Love Options by BESTie and 4minute’s two singles, What’s Your Name? and Is It Poppin? (which sound somewhat different but are in fact structurally the same with a few new bells and whistles) were the biggest hits for these groups’ careers. The simple structure and catchiness of these songs were the final forewarnings before his total takeover in 2014.

AOA’s Miniskirt and Short Hair, BTOB’s Beep Beep, Hyorin’s One Way Love, and Hyomin’s Nice Body were all big hits for these singers. Even JYP Entertainment succumbed to the trend, with Sunmi’s Full Moon bringing rave reviews. SM’s most trendy group, EXO, released another simple song Overdose and was again hugely successful at the same time as F(x)’s more ambitious Red Light faltered in terms of sales in comparison.

You might think this is not so bad. These are mostly great songs but there is something deeper going on here and this can be explained with help from German philosopher and critic Theodore Adorno. A little bit of history first. Adorno was part of the Frankfurt School, which was a Marxist school of theorists who wrote about many ideas regarding society but mostly centred on media and communications, which was active from around the 1920s to 1950s. Adorno was a major figure in the school and wrote extensively about popular culture and its effect on society at large. He wrote about pop culture as a culture industry, in that it had ceased to be an artistic endeavour and became a purely money making business.

This is where Adorno connects for us. We have seen that this is where K-Pop has reached finally but that is still not the most troubling thing. Adorno’s theory continues to say that this culture industry eventually does more than just make money but also serves the state in keeping the masses in line with their views. In musical terms this means that these songs are being created in an identical way in order to stop us from critically thinking about them and in turn nullifying our ability to critically think about any aspect of our lives.

Also on KultScene: Let’s Discuss: Sulli & F(X)’S Future

For me the work of Brave Brothers falls directly into this category. His recent work has had a profound influence on the rest of the industry and continues to be some of the most recognized. This is a direct problem for the state of music in South Korea and indicative of the conservatism of the country itself.

Considering pop music’s effect on society and how it reflects society is crucial for understanding and helping it grow. Right now, K-Pop is in a precarious position of completely yielding to the Brave Brothers template and being forever stuck with it. If the answer is not in I Got A Boy or Red Light then there is another way out there which we have probably seen before. It could be the melding of western and eastern styles we see so often or in the trot tradition of South Korea itself. Ultimately though, I don’t think there is an answer that can truly change the status quo.

Do you think Brave Brothers’ music is bad for the industry or do you love his music? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.