Winning the Korean War: Early DPRK and PRC Films

Abstract

This paper adopts a comparative approach by focusing on a selection of early DPRK and People’s Republic of China war films made during the years that followed the Korean War. It looks into the narrative, and the aesthetics of the films in the general framework of socialist construction but also in terms of the DPRK’s shattered dream of reunification. The Korean War broke out during the beginnings of socialist construction, a time of awakening and departure into a new world. It marked the beginning of the Cold War that drew battle lines that would remain in place over the next four decades. The war also served as the theme of a number of films in both countries that reflected their war experience. For the DPRK and PRC, film provided an occasion to address the socialist construction and supremacy over the United States. While the earliest Chinese movies, The Battle of Shangganling Ridge (上甘岭 1956) and Flying in the Sky (长空比翼, 1958), focused on the heroic battles of the Chinese troops, later films such as Friendship (友谊, 1959), Raid (奇袭, 1960) and At the 38th Parallel (三八线上, 1960) recounted incidents of Chinese and Korean soldiers fighting in cooperation against the US enemy under the background of a “Resist the US and Help Korea” campaign. The eight DPRK films discussed include Again to the Front (또 다시 전선으로, 1951), Scouts (정찰병, 1953), and The Combat Unit of a Fighter Plane (비행기 사냥군조, 1953). These productions had to confront the fact that Kim Il Sung’s attempt for (forced) unification had ended in a complete failure that permeated divisions and cut family ties. The Korean War broke out during the early stages of socialist construction in the Democratic People’s Republic of Korea (DPRK) and in the People’s Republic of China (PRC), a time of awakening and departure into a new ideological world.1 It marked the beginning of the Cold War, drawing battle lines that would remain in place for the next four decades. When Chinese Volunteer troops entered the Korean War on the DPRK side, they were motivated, rather than by friendship, by a mutual enemy, the US, which the PRC feared might further invade Manchuria.2 The war became the theme of a number of films in the DPRK, and the PRC, reflecting their war experience. For the DPRK and the PRC, film was a means to address the process of socialist construction and its supremacy as a model over that of the United States. The DPRK’s films had to deal with the fact that Kim Il Sung’s attempt at (forced) unification had ended in complete failure, which permeated divisions on the Korean peninsula and cut family ties. In addition, the films were produced at a time when Kim Il Sung and the Korean Workers’ Party (KWP) sought to build North Korean society anew, in order to present the socialist system as superior to what had been before. A few years before, Mao Zedong had started to introduce socialist values among his followers during the first rectification campaign in Yan’an in 1942. However, the socialist construction period only started after the establishment of the PRC in 1949. This paper focuses on the war films made in the DPRK and the PRC during the Korean War and the years that followed it, when the Chollima movement in the DPRK (launched in 1955, in full swing by 1957), the Anti-Rightist Campaign (1957) and the Great Leap Forward (1958–1962) in the PRC, served as ideological turning points until the beginning of the 1960s.