Though winter encroaches, our hearts are warmed by an eternal spring!
Although wintry cold has begun chilling our bodies here in Berlin, our hearts are warm this week thanks to... well, thanks to the eternally-blossoming pink flowers and ever-smiling women's faces of the Democratic People's Republic of Korea!

The Asian Women's Film Festival opens in Berlin tomorrow, and Hisae and I will be interleaving its offerings at the Arsenal cinema -- which include a whole section dedicated to classic North Korean films -- with the Tokio-Shibuya season going on at the HAU theatres in Kreuzberg. On several evenings in the course of the next week we'll be shuttling from one to the other, braving lashing wind and rain, but warmed in our hearts by films like The Flower Girl, based on an opera written by Kim Il Sung, the Great Leader, himself.
Here's a song from the film:
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As I mentioned in my 7 lies about North Korea piece a couple of years back (a discussion of Christian Kracht and Eva Munz's "coffee table book" of photographs of the DPRK), Germany and Korea -- and specifically the former East Germany and North Korea -- have quite a bit in common. They share an immoderate love for flowers, for standardized folk costumes, and for tightly-choreographed, stirring, collectively-voiced, totally non-funky songs filmed on spectacular mountainsides.

The curator of the Asian Women's Film Festival, Sun-ju Choi, has also helped put together an exhibition currently showing at NGBK in Kreuzberg (and my favourite Berlin art gallery, as it happens, partly because it's an artists' collective). Shared.Divided.United points out more similarities between Germany and Korea: "The two countries were both front-line states in the Cold War – and are at the same time both marked by a history of division. The manifold migration routes between Korea and Germany were characterized by complex inter-relationships and trans-border, frontier-extending activities, which are here for the first time studied against the backdrop of the Cold War. Koreans went as guest workers from South Korea to West Germany (FRG), and as students and orphans from North Korea to East Germany (GDR); East Germans went to North Korea in the overall framework of ‘developmental aid solidarity’; South Koreans in West Germany went in turn to North Korea, and North Koreans in East Germany fled to West Germany."

Works by contemporary artists like Suntag Noh (responsible for the reappropriated North Korean crowd scenes seen here) are displayed alongside historical material at NGBK. There are lots of other Asian nations -- and women directors -- represented at the Asian Women's Film Festival (the film which kicks it off is actually Malaysian), but it's the North Korean films which I expect to enjoy the most, for their otherness, their beyond-the-paleness, their beauty and resolute positivity.
A Bellflower, for instance, hymns the importance of "loyalty, solidarity and commitment to the country" and contains "exhortations to put the common good above personal ambition... a recurrent theme of North Korean society guided by the “Juche” principle of self-reliance."
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Let's end with Let's Defend Socialism, a song "from the early 90s about the Korean people's resolve to defend socialism". According to YouTube user DPRKradio, "this song was released shortly after the betrayal of socialism in the former Soviet Union by the traitor Gorbachev."
Like the music, the comments beneath it are harmonious; refreshingly free of the usual OMFG WTF LOL kneejerk Web 2.0 cynicism, this video has inspired YouTube users the world over (but all on the same day) to lift their voices as one and proclaim: "The Democratic People´s Republic of Korea is raising the banner of socialism to new heights in the 21st century under the Songun leadership of KIM JONG IL" and "long live ALL OF THE PEOPLE OF DPRK, HER LEADER KIM JONG II, AND THE BEAUTIFUL VALUES, TRADITIONS AND CELEBRATION OF LIFE, OF HER PEOPLE"!

The Asian Women's Film Festival opens in Berlin tomorrow, and Hisae and I will be interleaving its offerings at the Arsenal cinema -- which include a whole section dedicated to classic North Korean films -- with the Tokio-Shibuya season going on at the HAU theatres in Kreuzberg. On several evenings in the course of the next week we'll be shuttling from one to the other, braving lashing wind and rain, but warmed in our hearts by films like The Flower Girl, based on an opera written by Kim Il Sung, the Great Leader, himself.
Here's a song from the film:
[Error: unknown template video]
As I mentioned in my 7 lies about North Korea piece a couple of years back (a discussion of Christian Kracht and Eva Munz's "coffee table book" of photographs of the DPRK), Germany and Korea -- and specifically the former East Germany and North Korea -- have quite a bit in common. They share an immoderate love for flowers, for standardized folk costumes, and for tightly-choreographed, stirring, collectively-voiced, totally non-funky songs filmed on spectacular mountainsides.

The curator of the Asian Women's Film Festival, Sun-ju Choi, has also helped put together an exhibition currently showing at NGBK in Kreuzberg (and my favourite Berlin art gallery, as it happens, partly because it's an artists' collective). Shared.Divided.United points out more similarities between Germany and Korea: "The two countries were both front-line states in the Cold War – and are at the same time both marked by a history of division. The manifold migration routes between Korea and Germany were characterized by complex inter-relationships and trans-border, frontier-extending activities, which are here for the first time studied against the backdrop of the Cold War. Koreans went as guest workers from South Korea to West Germany (FRG), and as students and orphans from North Korea to East Germany (GDR); East Germans went to North Korea in the overall framework of ‘developmental aid solidarity’; South Koreans in West Germany went in turn to North Korea, and North Koreans in East Germany fled to West Germany."

Works by contemporary artists like Suntag Noh (responsible for the reappropriated North Korean crowd scenes seen here) are displayed alongside historical material at NGBK. There are lots of other Asian nations -- and women directors -- represented at the Asian Women's Film Festival (the film which kicks it off is actually Malaysian), but it's the North Korean films which I expect to enjoy the most, for their otherness, their beyond-the-paleness, their beauty and resolute positivity.
A Bellflower, for instance, hymns the importance of "loyalty, solidarity and commitment to the country" and contains "exhortations to put the common good above personal ambition... a recurrent theme of North Korean society guided by the “Juche” principle of self-reliance."
[Error: unknown template video]
Let's end with Let's Defend Socialism, a song "from the early 90s about the Korean people's resolve to defend socialism". According to YouTube user DPRKradio, "this song was released shortly after the betrayal of socialism in the former Soviet Union by the traitor Gorbachev."
Like the music, the comments beneath it are harmonious; refreshingly free of the usual OMFG WTF LOL kneejerk Web 2.0 cynicism, this video has inspired YouTube users the world over (but all on the same day) to lift their voices as one and proclaim: "The Democratic People´s Republic of Korea is raising the banner of socialism to new heights in the 21st century under the Songun leadership of KIM JONG IL" and "long live ALL OF THE PEOPLE OF DPRK, HER LEADER KIM JONG II, AND THE BEAUTIFUL VALUES, TRADITIONS AND CELEBRATION OF LIFE, OF HER PEOPLE"!
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(Anonymous) 2009-10-13 09:38 pm (UTC)(link)no subject
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(Anonymous) - 2009-10-14 05:13 (UTC) - Expandsomeone's drank the kool-aid
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HTMhelL
(Anonymous) 2009-10-13 10:47 pm (UTC)(link)nathan
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(Anonymous) 2009-10-13 10:49 pm (UTC)(link)so:
http://www.youtube.com/watch?v=LNCujB5tJnQ
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HymenTML
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(Anonymous) 2009-10-13 11:42 pm (UTC)(link)Curiously, the first thing that sprung to mind (right after being amazed a long-time president/dictator would write operas) was that the singsang in the embedded Youtube video reminded me a lot of old DEFA movies, especially fairy tales. The classic singing in a lot of old DDR films has a striking similarity to what Kim Jong Il wrote. Perhaps not by accidence.
The Flower Video
(Anonymous) 2009-10-14 12:10 am (UTC)(link)Kim Jong II: the new Kahimi muse?
(Anonymous) 2009-10-14 03:00 am (UTC)(link)You could strum a Bipa, while "Dear Father" croons his favorite song "Not Motherhood Without You" or teach him "I Am A Kitten" while riding in his armored train, watching pretty girls make pretty things.
shy
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(Anonymous) 2009-10-14 07:34 am (UTC)(link)the piety is hilariously pitiful.
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We can only hope that the next glorious leader (who was undoubtedly born on a gleaming mountaintop, from a beauteous virgin, raised by chipmunks, and taught to lead by the great Holanghee in the Sky) will also understand how important it is to preserve the true Korean culture at the expense of, well, providing physical sustenance for one's Korean brethren. Truly, "glory for the beautiful values, traditions and celebrations of life, of her people." At the expense of her people.
Momus, is that you?
http://www.bertisevil.tv/pages/bert029.htm
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ALL HAIL THE GREAT LEADER.
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(Anonymous) 2009-10-14 07:37 am (UTC)(link)no subject
My statement is this. Certainly my entry is propaganda. But the OMG WTF Web 2.0 requirement to cast the DPRK, every time you mention it, as part of an "empire of evil" is also propaganda. It's rather like harassing people reviewing American films into making clear their views on Hiroshima, the invasions of Iraq and Afghanistan, or the percentage of black Americans in prison. It inculcates the idea that an American film or record could not be reviewed responsibly without mention of these things.
In my Book of Scotlands I include a text parodying this idea. It's a review of a New Age folk album by a band called Sonic Flower Groove. The reviewer docks a star from his review because the band fails to make clear its position, in the course of the record, on the widespread Scottish practice of genital cutting.
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might vs. have
(Anonymous) - 2009-10-15 02:12 (UTC) - Expandno subject
What I find interesting is what partition does to the other side. When half of a country becomes Stalinist, it naturally affects how the other half operates. Partition left West Germany with a near-unassailable Christian Democrat majority in government, and the BRD police were given unusually far-reaching powers for a 'free' country, especially regarding the policing of dissent. In South Korea, a country which won the Olympic games while still a military dictatorship, an academic was arrested recently for *criticising* capitalism.
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My aesthetic preference for North Korea over South Korea is unavoidable, and not just because I like communist kitsch. In terms of ostranenie and otherness, North Korea clearly wins. It also wins in terms of the anxious interval (http://imomus.livejournal.com/435556.html). South Korea is just advanced and capitalist-consumerist enough to show me styles and forms I can find five to ten years into our own past, or in provincial university towns in my homeland. It's cool enough, in other words, to be embarrassingly uncool and similar enough to be dismissed in the spirit of "been there, done that". North Korea, though, as one of the last functioning communist states, has to be on the cultural endangered species list. It has to be a valuable "lost world of otherness", an exception to the monoculture which is, I believe, the biggest threat to humanity. That's why North Korea fascinates people who write books and program film festivals, and why the "aggressive normality" which so predictably demands condemnation of the DPRK is something I resist.
I would say, though, that I'm very much against the politics of Songun and Juche. Putting guns before butter is not a wise policy. You should feed your people rather than glorify your leaders. Communism should not demand self-sufficiency, either, but provide for people. And in terms of Gini ratios, the DPRK must have one of the highest rates in the world: one person disposes of almost the entire national wealth. There, that's my ringing condemnation. Now, go and see the films!
Post-Retro Uncool
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(Anonymous) 2009-10-14 09:44 am (UTC)(link)what are those silly guys think they are doing?
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(Anonymous) 2009-10-14 02:25 pm (UTC)(link)But, with projected exponential advances in computing power 20 years from now, we should not only be able to once and for all deal with pesky things like illness, but have some sort of 100% immersive virtual reality technology that will allow everyone to live in their ideal communist paradise. Are you looking forward to this eventuality?
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I've shunned them to death! I'm staying away from VR communism in case I do the same for that.
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(Anonymous) 2009-10-14 03:10 pm (UTC)(link)Maybe you need to appoint some whips, Momus?
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(Anonymous) 2009-10-14 03:58 pm (UTC)(link)recently came across D.Kabalevsky, who seems to have similarly wasted his talent during Soviet times
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b) It also reminds me of my own visits to East Berlin department stores in 1987.
c) Or the weird old department store in St Anne de Bellevue, Montreal, in 1975, with a compressed air cash transport system that ran on wires across the ceiling.
d) Or, you know, BHS in Tollcross in 1980.
e) All department stores all over the world share a kind of pathos. They present essentially shabby things -- clothes, plastic sunglasses -- as if they were luxuries. That goes for Harvey Nicks too; there's always some sort of idiotic cargo cult thing going on just below the surface.
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Life in the World of OMG WTF Web 2.0
"Critics such as Andrew Keen argue that Web 2.0 has created a cult of digital narcissism and amateurism, which undermines the notion of expertise by allowing anybody, anywhere to share (and place undue value upon) their own opinions about any subject and post any kind of content regardless of their particular talents, knowledgeability, credentials, biases or possible hidden agendas. He states that the core assumption of Web 2.0, that all opinions and user-generated content are equally valuable and relevant is misguided, and is instead 'creating an endless digital forest of mediocrity: uninformed political commentary, unseemly home videos, embarrassingly amateurish music, unreadable poems, essays and novels,' also stating that Wikipedia is full of 'mistakes, half truths and misunderstandings'."
http://en.wikipedia.org/wiki/Web_2.0#Characteristics
One important, defining feature of the knee-jerk cynicism of OMG WTF Web 2.0 that this comment does not mention explicitly, but which is clearly covered by the categories it does mention, is the solemn dictum issued by OMG-WTF-ers that one must attempt to deflect all criticism of or potentially critical questions about nations, peoples, systems, cultures, etc. other than the US or those things taken to be epitomized by the US by pointing out that the US or that which it is taken to epitomize has done or was purported to have done this or that supposedly bad thing. Furthermore, it is to be understood in the realms of OMG WTF Web 2.0 that not only do such attempts at deflection constitute more than sufficient exoneration of any nation, people, system, culture, etc. other than the US or those things taken to be epitomized by the US that might come under scrutiny for any reason whatsoever. They also constitute unassailable grounds for celebrating and holding up as a model any nation, people, system, culture, etc. other than the US or that which the US is taken to epitomize.
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