Exploring Myth of Partisan in Totalitarian Cinema
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Disclaimer Master’s thesis Exploring partisan myth in totalitarian cinema February 2014 Graduate School of Seoul National University International cooperation, international studies Julien Mahuzier Exploring partisan myth in totalitarian cinema Exploring myth of partisan in totalitarian cinema Professor Lee Geun Submitting a master's thesis of international cooperation November 2013 Graduate School of Seoul National University International cooperation, international studies Julien Mahuzier Confirming the master’s thesis written by Julien Mahuzier December 2013 Chair Professor Park Tae-Gyun Vice Chair Professor Cho Eun-Hee Examiner Professor Lee Geun Abstract Exploring partisan myth in totalitarian cinema Julien Mahuzier International cooperation, international studies The Graduate School Seoul National University The present thesis strives to discuss depiction of partisan movements in the cinema of Soviet Union, Yugoslavia and North Korea. It notably explains why the theme of partisans is critical to those regimes, how it became mythified and how the propaganda machine harnessed it to achieve each country’s respective political projects. This study is not exhaustive and could serve as a basis to explore further the way partisan movements were utilized by several Socialist regimes (Cuba, People’s Republic of China, Vietnam, etc.). It also discusses why cinema is the most efficient tool for mass indoctrination and how totalitarian regimes took advantage of it to convey their ideas and maintain their regimes. The thesis analyses a corpus of nine movies representative of specific periods for each regime. For the Soviet Union, the focus is on the establishment and reinforcement of Stalin’s rule, from the mid-30’s to the end of the War. For Yugoslavia, movies studied concern the late 60’s and early 70’s when the regime suffered a lack of legitimacy and tried to compensate it with increased propaganda. North Korean movies are those that accompanied Kim Jong Il’s emergence as a potential successor to his father in the late 60’s. In all three cases, movies were significantly backed by the regime and glorified leaders (past and current, directly and indirectly, with various degrees of personality cult), the Party and its ideology. The analysis focuses on the study of characters, cinematography, management of time and space and lastly on the way the political messages are expressed through movies. Despite a lot of common points, notably due to the inherent logics of totalitarian art, we can observe different fashions of using the myth of partisans in cinema. The study explains the origins of these differences drawing on historical, political and cultural contexts and also according to the diverse political objectives regimes and leaders aimed at achieving. ……………………………………… Keywords: partisan, totalitarianism, cinema, Korea, Yugoslavia, Soviet Union Student ID.: 2006-23762 Table of content Introduction .................................................................................................................. 1 Objective and relevancy ............................................................................................ 1 Existing researches .................................................................................................... 5 Methodology ............................................................................................................. 7 1. Myth of partisans .................................................................................................. 8 1.1 Who are the partisans? ................................................................................. 8 1.2 Origin of partisans ....................................................................................... 11 1.3 Partisans in socialist culture ........................................................................ 14 1.3.1 Etymology and use in socialist lexicon ................................................ 14 1.3.2 Partisans in USSR ................................................................................. 15 1.3.3 Partisans in Yugoslavia ........................................................................ 20 1.3.4 Partisans in North Korea ..................................................................... 22 1.4 Conclusion of 1st part: myth of partisans? .................................................. 28 2. Totalitarian cinema ............................................................................................. 31 2.1 Totalitarian art............................................................................................. 31 2.1.1 Essence of totalitarian art ................................................................... 31 2.2 The case of cinema ...................................................................................... 33 2.2.1 Cinema in USSR: Wartime and post-War Stalinist cinema .................. 33 2.2.2 Cinema in Yugoslavia ........................................................................... 36 2.2.3 Cinema in North Korea ........................................................................ 38 2.3 Conclusion 2nd part: Totalitarian cinema .................................................... 41 3. Study cases: USSR, Yugoslavia and DPRK ............................................................ 44 3.1 Analytical framework .................................................................................. 44 3.2 USSR ............................................................................................................ 45 3.2.1 Choice of movies ................................................................................. 45 3.2.2 Chapaev ............................................................................................... 46 3.2.3 She defends the motherland ............................................................... 49 3.2.4 The rainbow......................................................................................... 53 3.2.5 The Young Guard ................................................................................. 57 3.2.6 Conclusion USSR .................................................................................. 62 3.3 Yugoslavia .................................................................................................... 65 3.3.1 Choice movies ..................................................................................... 65 3.3.2 Walter defends Sarajevo ..................................................................... 65 3.3.3 The battle of Neretva .......................................................................... 68 3.3.4 Sutjeska ............................................................................................... 73 3.3.5 Conclusion on the Partisan movies for Yugoslavia .............................. 77 3.4 DPRK ............................................................................................................ 81 3.4.1 Choice of movies ................................................................................. 81 3.4.2 The river flows ..................................................................................... 82 3.4.3 Five Guerrilla Brothers ........................................................................ 86 3.4.4 Conclusion for North Korea ................................................................. 91 3.5 Conclusion of 3rd part: studied movies ........................................................ 95 3.5.1 Characters ........................................................................................... 95 3.5.2 Form .................................................................................................... 97 3.5.3 Narration ............................................................................................. 97 3.5.4 Political content................................................................................... 98 Conclusion ................................................................................................................. 100 Bibliography .............................................................................................................. 105 Filmography ............................................................................................................... 108 Abstract in Korean ..................................................................................................... 109 Introduction Objective and relevancy The purpose of this thesis is to compare and analyse the exploitation of partisan movies genre in different socialist regimes and to understand how they fit in the political projects of these countries. Partisan or guerrilla movements have been source of legitimacy not only for new states established in those countries (North Korea, Socialist Federal Republic of Yugoslavia and others former colonies or semi- colonies like China, Vietnam, Algeria, Angola, Cuba, Guinea-Bissau, etc.) but also for existing states that have been military occupied and liberated with support (real but systematically exaggerated, romanticised and idealised) of partisans’ resistance activities