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Yeonghwa yesullonYŏnghwa yesul ronOn the Art of the Cinema (: 영화예술론;: Yŏnghwa yesul ron; lit. Film Art Theory ) is a 1973 treatise by the. It is considered the most authoritative work on.The book sets forth several original theories, which can be applied to the practices of filmmaking, the arts, and beyond. Of these the theory of literature as 'humanics' and the 'seed theory' are the most important ones. Humanics centers on the question of a good and worthy life. In art, it emphasizes truly independent individuals who are capable of transforming society.

The seed theory has become essential to North Korean film theory. It seeks to direct all artistic creation through a single ideological foundation, or 'seed'. In an individual work, the seed is the synthesis of its subject matter and idea and the basis of its propaganda message. These ideas complement the themes of nationalistic form and socialist content of films.

Many ideas presented in the book are justifications for the creation of supporting the 's policies.On the Art of the Cinema had major political implications on. Kim Jong-il gained political and influence in North Korean society and government by authoring the book.The impact of On the Art of the Cinema on North Korean filmmaking is disputed.

Films from before and after the publication of the treatise are similar in style and many contemporary films breach various rules laid out in the treatise. A statue of Kim Il-sung at the. On the Art of the Cinema reformulated many ideas of Kim Il-sung on art to be specific to cinema.After graduating from in 1964, Kim Jong-il devoted himself to cultural, ideological and propaganda work at the of the. Although Kim is known to have been privately interested in, he forbade discussion on foreign film concepts at the, an important annual film conference. After he had ordered the entire conference archive to be destroyed, Kim urged participants to be exclusively concerned with the teachings of and the party in creative work. Since then, Kim Jong-il's influence in film and administration grew, and he resisted liberal artistic influence from the Soviet Union. From 1968, Kim began to work on film adaptations of guerrilla plays originating from the 1930s.

Kim had the production of films, such as, (parts one and two, 1969), (: 한 자위단원의 운명;: Han chawi tanwŏn ŭi unmyŏng, 1970) and (1972). Afterwards, Kim Jong-il began producing. Kim had worked in the government arts administration for almost ten years by this time. He then wrote a series of essays based on speeches he had given to directors and screenwriters over the preceding five years, and published it as On the Art of the Cinema on April 11, 1973.

It was his first major work. Through the rest of the 1970s, Kim continued to oversee cultural activities. The cinema occupies an important place in the overall development of art and literature. As such it is a powerful ideological weapon for the revolution and construction.

Therefore, concentrating efforts on the cinema, making breakthroughs and following up success in all areas of art and literature is the basic principle that we must adhere to in revolutionizing art and literature.From the preface of On the Art of the CinemaIn the treatise, Kim Jong-il seeks to apply the principles of the North Korean ideology to questions of film, literature and art. According to Kim, 'revolutionizing' cinema is a means of revolutionizing the whole of art and literature and exposing society to the 's ' and Juche. Building upon literary theory and 's thought, Kim Jong-il constructs what has been described as a ' Juche '. A key aim of Kim is to employ heroic film fiction to transform man into a: ' Juche-type man'.The book deals comprehensively with aspects of cinema, including and, acting, performance, score music, the screen, camerawork, costumes, make-up, and props. Of particular importance are themes of directing and producing as the driving forces of.

Ideas in the book are elucidated by drawing examples from North Korean films, of which Sea of Blood is the most referred one. On the Art of the Cinema presents two major theories: the theory of literature as 'humanics' and the 'seed theory'.

Both are considered justifications for the party's control over artistic creation. Other ideas developed by the treatise are the so-called 'modeling theory' and 'speed campaign'. Compliance with these principles earns an artwork the title of 'collective work'.Films should be realistic, which is possible only when the filmmakers have lived with the popular masses, much like the ideal of the revolutionaries of the. However, this 'realism' entails unadulterated and Juche, making it incomparable to conventional types of realism in film, like. Kim builds on the idea that contemporary North Korea has transcended and no real conflicts exist to be portrayed in cinema, bar historical and external ones.

This can be seen as a reassertion of the Stalinist. No 'negative people' who would disagree with the party's policies can exist. Depicting conflicts within North Korean society in film could be considered being critical of the regime. When historical themes are depicted, traditions should be portrayed selectively to support present ideological needs, purged of 'feudal ideologies' of traditional tales and legends. Literature as humanics The theory of literature as 'humanics' (: inganhak) developed by Kim Jong-il establishes that literature exists within the human domain. A key theme of humanics is the question of good and worthy life, allowing for propagandist and moralistic art.

The idea of (Korean for 'independent spirit') is also prominent in the theory of humanics. Chajusŏng is the metaphysical essence of humans struggling against oppression.

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Philosophically, it depends on the view on in Juche. The of the story, in particular, embodies Chajusŏng. According to Kim, 'humanics literature' gives emphasis to the development of truly independent individuals as called for by the Juche era. This brings about a transformation of the society as a whole.

In, Chajusŏng is used as a justification of state control on literary creation and a nationalistic policy of. Seed theory The 'seed theory' (: 종자론;: chongjaron ) forms the essence of On the Art of the Cinema and, consequently, North Korean film theory in general.It has been called a 'strange concept', a method of coercing artists to follow the party line, and a means of canceling out individual creativity; Kim Jong-il equates a film with a living organism, noting that in this analogy the seed is its kernel. The idea is that, if all artistic interpretation is done through a single ideological foundation, or 'seed', the resulting cinema is whole.

This makes all members of a creative team work for a single goal, in spite of differences in the personalities or focus of the individual members. The director's task is to prevent anything 'foreign' to the seed itself from entering cinema. Thus, the seed is the fundamental consciousness underlying artistic creativity.In more concrete terms, the seed is the basis of the propaganda message of the film: 'a strong, convincing idea of what to tell'.

The seed synthesizes the subject matter and the idea of a work, thus providing both the form and content. In this capacity, it fuses together the literary theory concepts of 'material', 'theme' and 'thought'. The film should contribute to the ruling ideology and employ esthetics and storytelling that support the propaganda message. For example, the seed of film The Fate of a Self-Defence Corps Man revolves around the choice facing the main character, Gap Ryong: to perish under oppression or sacrificing one's self for the revolution. Its seed could be summarized as 'whether or not Gap Ryong participates in the revolutionary movement, he dies'., Kim argues, is the seed of 's.The seed theory became influential in the literary circles of North Korea and writers sought to backtrack the seeds in classics preceding Kim's treatise. In addition to questions of art, the seed theory was adopted to a wider range of industrial and economic activities.

Modeling theory and speed campaign According to the 'modeling theory', liberation struggles should be portrayed so as to combine national and class struggle. This is achieved through idolizing portrayal of the North Korean people and by producing role-models.The 'speed campaign' (: sokto-jon ) calls for rapid production of films. According to Kim Jong-il, by producing films as fast as possible, the overall revolutionary process is expedited. The origins of the speed campaign are in the shooting of The Fate of a Self-Defence Corps Man in just 40 days when it was anticipated to take a full year. The practice was carried out after publication of On the Art of the Cinema, too. For instance, the eight-part film series (1979–1981) was produced by following the speed campaign principle.

Each film took just 45 days to produce. Subsequently, speed campaigns have been carried out not only in art, but also economic matters. It was thought of as equally important with Kim Il-sung's, and remains an influential concept associated with Kim Jong-il's leadership. Reception and influence. The work is sometimes referred to as (The) Theory of Cinematic Art and Essays on the Cinema, but it has been only published in English under the title On the Art of the Cinema.

Although being often attributed to Kim Jong-il and On the Art of the Cinema, the seed theory appears to predate the treatise. An official biography of Kim Jong-il explains that Kim spoke of the seed theory throughout the late 1960s and early 1970s, but at that time 'officials could not understand what this strange term 'seed' meant'.References.