North Korea’s Strange History with the Movie Industry

Although one might not think of North Korea for its movie industry, the communist regime has an interesting history with cinema.

It started with such pro-war propaganda films in the early 1950s as “My Home Village” and “Righteous War.” Throughout the country’s history, film has been an important propaganda tool to influence the public. And since movies have been a tool of persuasion in the country, President Donald Trump’s faux movie trailer, which he recently showed North Korean leader Kim Jong-un during their summit in Singapore, should not be all that surprising.

It’s no coincidence the White House used this tactic. After all, IMDb (the online database of film info) lists 170 movies with North Korea as their country of origin. The final products are used to promote the kinds of values one would expect.

For example, “Pulgasari,” a Godzilla knockoff, is about an evil monarch who is overthrown by a farmer’s rebellion. “Hong Kil-dong” features the son of a nobleman who “defends peasants from greedy rulers,” while “Order No. 027” is about “a group of elite soldiers [sent] across the border to South Korea to destroy a military base. The soldiers are well aware of the inherent suicide nature of their mission, but are happy to risk it all for the benefit of their Great Leader,” as IMDb makes clear.

The themes are likely what anyone would expect: pro-war, pro-communism, and worship of a dictatorship.

Kim Il-sung, the first leader of North Korea beginning with its establishment in 1948, had a particular taste for cinema; that’s why eight of the 10 most popular North Korean films on IMDb are from his reign (1948-1994). The eldest Kim even wrote films like “The Flower Girl” (1972) and “Pulgasari, Sea of Blood” (1969); Kim Jong-il is also listed as a producer on “The Schoolgirl’s Diary” (2007) and “Pulgasari, Sea of Blood.”

The only reason some of North Korea’s films gained any international prominence is that the country decided to kidnap South Koreans to improve the quality of the entertainment industry. North Korea reportedly kidnapped Shin Sang-ok, a famous South Korean filmmaker, along with his wife, actress Choi Eun-hee, in 1978 and held them captive until 1986. “Pulgasari” was their last film before they defected to the United States.

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The Guardian has reported the couple said Kim Jong-il wanted to be accepted by the worldwide artistic community — but the leader later admitted his effort was “useless.” The couple also noted that what they had done there was mostly copy the concepts of Japanese movies and throw in North Korean state propaganda.

Four years ago, North Korea also made headlines for a film — not because of one the country made, but because of one that depicted their country. That would be “The Interview,” starring Seth Rogen and James Franco.

North Korea is far from having its own Hollywood.

The country’s government was reportedly not happy with the film — which ends with Kim Jong-un’s assassination — and in a rather humorous fashion at that. The country even threatened war against the United States if the movie were released. Although no war occurred, it’s widely believed North Korea was responsible for a Sony Pictures hack a month prior to the movie’s release, in which a group called Guardians of Peace leaked confidential information about the company and its employees. The group also threatened terrorist attacks at movie theaters where the film would be shown. Ultimately, it released via streaming services instead; it also played in independent theaters that volunteered to show it.

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Certainly, North Korea is far is from having its own Hollywood — but in a country in which freedom and culture are so limited, the current movie industry has a profound impact on its citizens. It is easy to see why.

Tom Joyce is a freelance writer from the South Shore of Massachusetts. He covers sports, pop culture, and politics and has contributed to The Federalist, Newsday, and other outlets.

(photo credit, article image: Detail from Film Studios Mural, CC BY 2.0, by John Pavelka)