A Different Style Propaganda
(January 12, 2017)
In the early years of the Imperialist Japan War, the goal for a Co-Prosperity Sphere within Asia has led to numerous official laws pertaining to assimilation, inculturation and one-ness, by the Japanese government. The objective was to create an uniform identity for the colonised territories and gain support for the war, especially for conscription and manual labor. However, as with all conditions of any country during war-time, it is inevitable that morale of the people may be affected. Thus, in one way or another, propaganda films became highly necessary in order to reach out to the public, without a sense of authoritarian rule. The cinema, was after all, a place of entertainment, a form of respite from the chaotic or highly busy world, thus the mental attitude of movie-goers were not initially influenced, taking in the message of the movie with a much more broad mind.
In the case of Dear Soldier (1944) by Director Han-jun Bang, the entire movie is set-up as a propaganda film to educate and entice the public of the honour and the responsibilities of a citizen (especially of the colonized) of the empire. I will analyse this description in three important aspects – social sphere, family sphere, and personal sphere.
Taking into consideration the social sphere that is presented in the film, we see the intermingling of the characters inside the military school. As the narrative depicts, lineage is not important within army, but able bodies that are honed into good soldiers. This is shown at the meticulous reception of the candidates and their shared responsibilities, such as serving food, studying, training, doing the laundry, taking baths, and shared minimal possessions. Here, whether you are rich or poor, born Japanese or Korean (though in this particular movie they are Koreans who had undergone the process of assimilation such as changing of the name, though hints can be seen in the setting of their houses), or young or old, you are welcomed to the army, or as they put it, selected and honoured to become part of the army. This has an important message for analysing as the film seems to portray the impressive, privileged life of one in the army, as well as their undying bonds and commendable dedication and discipline. To show a certain “oneness” that can be achieved by becoming part of the army.
In the second sphere – family sphere – we see glimpses of the characters’ interaction with their family, as well as their community (which we can acknowledge as the extended family). The way the families reacted to the conscription letter of the sons show a different side of this war. It was almost as if the conscription is a much coveted opportunity for one to be able to honour the family as well as the community. Naturally, there would be doubts in the hearts of the mother, but if we consider that the letter was addressed to the mother (not father), we can read this message of the film as a way to honor the mother who has given birth to the soldier-to-be. Indeed, while the letter gives instruction on how the mother should feel towards the selection of the son, it can also be seen as the “Army’s way of asking for blessing from the mother” even if indirectly and if not by “asking” but by “decreeing” it. Another good example is when one of the soldiers went to speak to the community about the conscription in his own volition. Here, the message of the film is the soldier’s mind having been opened to the realities of the army and the responsibility that each and everyone shares – that no matter where one comes from, they have a place in the army.
Finally, in the personal sphere, we see the characters grow from new, doubtful recruits in the beginning of the movie into aspiring men of duty. Each one learns their place, finds what is important for them (i.e. one now has a family; another sees his skill is acknowledged and therefore wants to proudly show it by his eagerness; and the other who had people skills would become a trainer for the next generation) and accepts this. From this angle, the film seemingly addresses the possibilities after the military training. Certainly, there will be those who will go to the war front earlier than others, and then there are those, who, after going through such training, would be left behind to become instructors or have other responsibilities away from the fighting. This part of the film, however, wants to convey the message that each duty (war front or not) is equally important, and a soldier should always take pride in it, just as their family and community does.
In conclusion, by looking at these three spheres, we can see a different approach in this propaganda film. Indeed, the movie aspires to inspire people of the labor and the suffering of a soldier, but it does so without having to create a sense of fear or awe – such as Leni Riefenstahl’s Nazi Germany propaganda film “Triumph of the Will” (1935). Rather, it uses elements that are familiar and easy to accept (family-ties, roles, friendship, bonds, and trials of life) which are normal and seemingly more rooted to everyday life. So personally, if I were to choose between Dear Soldier and the Nazi Propaganda film, I would say that the former succeeds in its message for the very reason that it creates a certain aspiration for the audience, as opposed to be bombarded with shock and awe of might and power. Indeed, while most propaganda asserts emotions from the audience, Dear Soldier does it in a less provocative manner.
Words: 956
Comments
Post a Comment