North Korean Propaganda Arts

Abstract

People are willing to purchase and consume cultural artefacts as well as commodities. In accordance with economic principles, consumers purchase the cultural items not only for the value of item, but also for the implied meaning of items although it is invisible. Cultural artefacts are diverse, however they stimulate the imagination of consumers. People purchase the cultural items for the satisfaction of collecting artefacts that demonstrate the authenticity of cultures. According to the fabulous essay of James Clifford,1) culture, or cultural art, is described as something that can be possessed and collected by individuals, thus the centres surrounding culture can presumably be the public and transcendental traditions, which correspond with valuable commodities. Whilst analysing the system using both structural and historical techniques, Clifford refers to the formation of Western subjectivity as the essential debate. Either religious or functional objects from secluded cultures have been reconstructed as owned and contemplated art or even exotic home cultures. Therefore, the system that moves cultural art to the realms of extraordinary art enables many diverse groups to use their own cultures and artistic items as consumable and tradable commodities to their financial benefit.2) Presumably, cultures are ethnographic collections.3) In addition to that vague meaning of culture, Edward Tylor describes cultures as the complex whole, consisting not only of morphological distinctions, but also the epistemological components that can transcend the boundaries of origin. Moreover, because