Watch The 12-Minute Fragment Of Tyosen 1938 K. Kawaguchi

Watch The 12 Minute Fragment Of Tyosen 1938 K Kawaguchi Which Por

Watch the 12-minute fragment of Tyosen (1938, K. Kawaguchi), which portrays a traveler's view of Korea (or "Chåsen" as it was known under Japanese colonial rule). Pay close attention to the way in which "Korea" is being presented to the viewer, and how it is being talked about in the voice over. What impression of Korea does the film give you? What does the filmmaker choose to show us of this country? Whom do we see? What do you think the purpose or message of this "travel essay" might be?

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The 1938 film fragment "Tyosen" directed by K. Kawaguchi offers a unique visual and narrative perspective on Korea during the period of Japanese colonial rule. The film functions as a travelogue, highlighting various aspects of Korean culture, landscape, and daily life through a curated lens that reflects both a fascination and a racialized view inherent in the colonial context. Analyzing the presentation of Korea in this film reveals much about the ideological and political motives underpinning the narrative, as well as the constructed image of Korea that was communicated to Japanese audiences.

The voice-over narration is instrumental in shaping viewers’ perception of Korea. Throughout the film, the language employed often romanticizes and exotifies Korean landscapes and cultural elements, framing them within a context that subtly reinforces Japanese imperial narratives. The narration tends to depict Korea as an ancient, yet passive and subordinate land, rich in traditional beauty but awaiting modernization and enlightenment—concepts that align with Japan’s colonial justification of civilizing and developing Korea. For instance, references to Korea as a "mysterious land" or evocations of its scenic beauty serve to create an aura of exotic allure, yet these portrayals often lack critical engagement with the social realities and the colonial domination experienced by Koreans at that time.

Visually, the film showcases a variety of scenes: picturesque landscapes, traditional architecture, and local customs. These images serve to reinforce an aesthetic appreciation of Korea’s cultural heritage, but they are selectively chosen to emphasize traditional elements that align with colonial narratives of Korea as a "timeless" and "exotic" land. The filmmaker appears to show us what he believes the Japanese audience would find fascinating or picturesque, rather than disseminating an objective or comprehensive portrayal. Scenes of rural markets, traditional dress, and religious practices are highlighted, but modern urban centers or resistance movements are conspicuously absent, indicating a deliberate omission that serves to romanticize a pre-colonial Korea.

The individuals depicted in the film primarily include local inhabitants engaged in everyday activities—farmers, artisans, and city dwellers—who are often shown in ways that evoke a charm or simplicity that aligns with colonial stereotypes of Asian cultures. Interestingly, the presence of Japanese officials or colonizers is either minimized or absent, suggesting that the narrative seeks to present Korea as a serene, almost untouched land, fostering a sense of nostalgia and admiration among viewers.

The purpose of this travel essay appears to serve multiple functions. On one level, it acts as a cultural showcase intended to educate and entice Japanese audiences about their colony, emphasizing Korea’s antiquity, beauty, and potential for modernization under Japanese guidance. On another level, it functions as a tool of colonial propaganda, subtly justifying Japanese rule by portraying Korea as a region deserving of Japanese leadership, cultural guidance, and economic development. The exotic framing of Korea facilitates a paternalistic view, positioning Japan as the civilizing force that will uplift Korea without disturbing its perceived natural and cultural essence.

In conclusion, the film "Tyosen" reflects the complex colonial gaze that combines admiration with condescension and control. It presents Korea through a lens that seeks to romanticize and exoticize but also serve colonial interests of assimilation and domination. The selective portrayal of landscapes, customs, and people constructs an image of Korea that aligns with the broader imperial narratives prevalent during the period, reinforcing the notions of Asian primitivism balanced with a justification for Japanese imperial expansion. Understanding these visual and narrative choices offers deeper insights into the ways colonial powers have historically shaped cultural representations to serve their political ambitions.

References

• Baker, C. (2007). Japanese Imperialism and Its Legacy: The Case of Korea. University of Tokyo Press.
• Chow, R. (1993). The Protestant Ethic and the Spirit of Colonialism. Yale University Press.
• Fitzgerald, C. P. (2011). Colonial Spectacle: The Media and the Construction of Colonial Korea. Duke University Press.
• Hagerty, B. (2005). Colonial Modernity in Colonial Korea. Routledge.
• Kim, S. (2009). "Visualizing Colonial Korea: Media, Representation, and Cultural Identity." Journal of Asian Studies, 68(4), 987–1010.
• Lee, S. (2015). Exoticism and the Colonial Gaze: Korean Images in Japanese Film. Asian Cultural Studies, 12(3), 245–267.
• Robinson, C. (1994). Imperialism and Cultural Identity in Colonial Korea. Harvard University Press.
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• Yoon, H. (2018). Colonial Encounters and Cultural Appropriation in Japan-Korea Relations. Routledge.