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An Analysis of Collaborative Propaganda Films during the Japanese Colonial Period

In this paper, I dealt with collaborative propaganda films between Korea and Japan during the Japanese colonial period, so called “Chin-il Yŏnghwa”: pro-Japanese films. Japanese propaganda films had been made in colonialized Korea from early 1920s to propagandize Japanese colonial government's policy but it changed its characteristic definitely from advertizing the policy to implanting Japanese war propaganda, after Chosŭn Film Regulations were enforced in 1940. Since then, only war propaganda films in Japanese language were permitted to produce in Korea, therefore, Korean film professionals had to leave film industry and be prepared suppression by the colonial government if they refused to follow the law. On the other hand, collaborative propaganda films were made not only by the enforcement of Japanese colonial government but also by pro-Japanese film makers who insisted they could develope the quality of Korea film through the collaboration with Japanese studios having advanced skill and technology. Contradicted to their excuse, many of them made only war propaganda films which drove young Koreans out to the battle ground and miserable death as well, propagating “Naesŭn-Ilche”, which means Unification of Japan and Chosŭn, Volunteer System for Japanese Army, Conscription System, and so forth during the Pacific War. Here I analysed three of collaborations, Suicide Squad of Watchtower, Portrait of Youth, Vow and Love to see what and how Japanese war propaganda was infused in them. To conclude, I propose we ought to give more credit to the studies on these collaborative films concerned with comparative film history of Korea, Japan and its other colonies, considering some of Chin-il Yŏnghwa imported to Manchuria, China even to Japan later on and appropriated differently in each areas according to the situations and contexts of Japanese wartime propaganda.