1. [Feminization or Militarization of the border between Korea and Manchuria ―Occurrence and Prevalence of [Oryokkobushi]] Occurrence and popularity and [Hakutosanbushi] (Baekdu-san Song)」 that formulated the family relations widely popular in Joseon, ...
1. [Feminization or Militarization of the border between Korea and Manchuria ―Occurrence and Prevalence of [Oryokkobushi]] Occurrence and popularity and [Hakutosanbushi] (Baekdu-san Song)」 that formulated the family relations widely popular in Joseon, Japan and Manchuria from 1920's to 1945, the year that the imperialism was defeated. These two new folk songs were not only to sing songs, but also showed the shift into the popular media in diverse methods, such as, records, books, dances and pictured postcards. This is an evidence that the genre expandability was that much significant and the colonial culture and politics contained thereto is related profoundly with the artistic nature of the fascism for internalizing the imagined geographies of the empire related to the deepening of Japanese spirit and expansion of territories. In order to justify its invasion of bordering states and violent colonial control and ruling, the imperialism carried out feminization and militarization in the Korea-Manchuria boarder area sooner or later including Baekdu-san and Apgok-gang. The data presented earlier would be the medium available for objective look for Its aesthetic method and devices. Based on the foregoing, this article has disclosed the followings: First, it has taken a look at how [Oryokkobushi], originated in Manchuria, or Korea-Manchuria boarder area, dissipated to Japan and Joseon to enjoy the position of ‘nationally-popular song’. Second, it has taken a look at the taste of foreign state of [Oryokkobushi] and intrinsic nature and characteristics of colonialism as it enjoyed great popularity in Japan with music records, dances, songs and publications. Third, the attention was given to the ambivalence of [Oryokkobushi] as it was differently enjoyed and sung with each other by people of Joseon and Japan in the colonial Joseon. It has shown that the focus is placed on the aspect of Japanese for its pride on the power of the empire for carrying out its colonial policies as well as enlightening of illiterate people of Joseon, while the elite writers and artists of Joseon focused on the aspect of entertainment on foreign culture. Forth, with the focus on the newly discovered picture postcard of [Oryokkobushi], the attention is given to the fact that this postcard had shifted its role beyond simple mailing device to a tool in war to propaganda and praise the colonialism and militarism of the imperialism. And, fifth, it is shown that the feminization and militarization in the Korea-Manchuria boarder area had the final conclusion by [Hakutosanbushi] that appeared later than [Oryokkobushi]. At its pinnacle, it is confirmed that the picture postcard, [Hakutosanbushi], is placed as it contained propaganda on ‘Five Races Under One Union」 of the Manchuria State or sung the song for the sudden air attack on the Pearl Harbor that triggered the Pacific War.
2.[Songhua River·barren land·pioneered land―Cultural politics of Photo postcard ‘Songhwagang’ and ‘Manchukuo’] This study explores the birth and development of photo postcards dealing with ‘the Songhua River’ and also the essence and characteristics of cultural politics that it has performed. Flowing serenely along northeast Manchuria, the Songhua River influenced grain production and wood industry in Manchuria significantly. Under the flag of ‘engineering in Japan, farming in Manchuria’, the Japanese Empire strived to exploit and colonize Manchuria. In that process, cities around the Songhua River such as Kirin and Harbin rose as a hub for natural beauty, exoticism, new civilization, and culture of pleasure representing Manchuria. Regarding Harbin and Kirin as key space for ‘state-run travel’, the Japanese Empire tried to make tourism (traveling) in the places something more than having curiosity over new space or enjoying exoticism merely. Instead, they defined it as the space of colonization that could realize the extension and deepening of imaginary geography in the mind of the Japanese Empire being sure of its superiority and expansion over the world. [The 1,000 Miles of the Songhua River] is a collection of photo postcards issued in that process. There are tourism-related postcards, too, but the center of it is, of course, the propaganda associated with Wangdonakto, Ojokhyeophwa, or Bokjimanri. Considering it as the product of colonialism and militarism, this study has found the fact that the postcard collection of [The 1,000 Miles of the Songhua River] was produced and distributed by the Japanese Empire to appropriate not just its subjects but men and women and even children in Manchuria as a means of ‘all-out war’. In the process, this author has also revealed the fact that ‘worshiping those who died in battle’ which puts all the value on the perpetuity of the emperor and devotion to him and death for him was done publicly. In this sense, although postcards about ‘the Songhua River’ including [The 1,000 Miles of the Songhua River] dealt with the pleasure of tourism, this researcher has understood that ultimately, they were instrumental media to make the modern emperor system of Japan absolute through the instrumentalization of death, that is to say the products of ‘turning fascism into art’.