A United States Information Service production, Korean Cultural Goodwill Mission to Southeast Asia (1958) was part of an effort to build mutual understanding among "free people of Asia" and showcase American empire with Korea as second-in-command. Saigon, Manila, Hong Kong...
And here's Taipei, the capital of Free China. Han Sang Kim writes: Korean "self-awareness as second-in-command and their sense of superiority over Southeast Asian people are both cinematically exercised." But it's also USIS "showing off its power to see and visualize."
"...[T]he governmentality of Cold War Asia was
formed through a process of inheriting the basic structure established in colonial regimes of knowledge and redetermining the relationship between the newly independent states and the U.S. in the new world order."
That's from "Who Views Whom through Whose Lenses? The Gazes in USIS Film Propaganda in South Korea." But anyways, the fragility of the situation is more clear when you know how it turns out. Syngman Rhee didn't have much time, and neither did Diem, who we see here.

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More from @dylanleviking

18 Aug
Paul Engle holds forth in this documentary—Community of the Imagination (1973)—funded by the United States Information Agency, covering a residency at the International Writing Program. This idea of a cultural battlefield is mostly gone, I think, or it's much less sophisticated.
Robert Blum of the CIA-operated Asia Foundation pushed the United States to become a patron of the arts. Creativity was a bulwark against communism (as was the healthy nationalism of folk arts, an important aspect here). Paul and Nieh Hua-ling took up the project.
Nieh Hua-ling helped shape how literary translation was conceived of in the United States. The process she describes here—essentially bridge translation, with the final product handed off to an "American writer" who puts it in "publishable form"—is still standard practice.
Read 6 tweets
17 Aug
Everyone enjoying Wang Huning's America Against America, either in the original or through grassroots scanlation efforts, I recommend another contemporary portrait of America: Beijinger in New York, a TV series adapted from a 1991 novel about a sojourn in America.
The series came at a moment not completely unlike the present, when the West was making a show of turning its back on China, while things and money and people were still going back and forth. So, this is about a lot of things—but the portrait of America is interesting...
America is corrosive. Our protagonist—Qiming (Jiang Wen)—a shaggy but humane and cultured musician is destroyed: he's reduced to a beast of burden, his wife starts sleeping with her boss (white, sleazy missionary grandson, fluent in Chinese), and his daughter is hooked on dope.
Read 6 tweets
9 Jul
This is an essay about online politics by Wang Taotao 王陶陶. He says, basically: ideological confrontation with the West has sped up the decline of Chinese liberalism, and a generation born decades on from Reform and Opening are unenthusiastic about the market economy.
Identified with openness to the West, liberalism is untenable in an age of conflict with the United States. He compares the decline of liberalism to the decline of pan-Asianism in the '30s and the shock delivered to pro-Soviet intellectuals in the wake of the Sino-Soviet split.
The second factor is a generational split: people born in the '60s, '70s, even to some extent the '80s were beneficiaries of Reform and Opening, when a college degree was a ticket to the good life. This is no longer the case. There is increasing skepticism of the market economy.
Read 12 tweets
5 Jun
There are plenty of '90s 抗日sploitation films—Comfort Women Unit 74 慰安妇七十四分队 (1994) and Doomsday Killer 末日杀手 (1993) among them—but Den of the Milkers 人奶魔巢 (1990) might be the least serious, revolving around a plot about the Japanese farming women for their milk.
The breast milk is being used for some sort of serum to strengthen Japanese men. It could be an interesting concept, like an allegory for depraved imperialist masculinity or whatever... And put in some milking scenes! There's a lot of sadistic torture, but little milking.
Of course, eventually, the agents infiltrate and then launch an all-out assault, turning everyone to hamburger with machine guns. Pretty impressive blending of Hong Kong exploitation esthetic and patriotic anti-Japanese cinema, here.
Read 6 tweets
29 May
The methaqualone claim is not exactly true, or, like with fentanyl, a sliver of the larger story. But it starts with the idea that China was using heroin to fight American imperialism in Indochina, covered in books like Red Cocaine, which suggests Zhou Enlai was running things.
The idea of heroin coming from Red China has less truth than the methaqualone story. But through the 1950s and '60s, anticommunism was a reliable way for Harry J. Anslinger to sell war on drugs—and, then, for the China lobby to sell their war on communism.
British customs agents reported no seizures of heroin from Red China after 1949, for example, and it didn't appear that they were just missing shipments. ("Bureaucratic Cold Warrior: Harry J. Anslinger and Illicit Narcotics Traffic"). The story kept going, though.
Read 7 tweets
26 May
I'd never heard of the claim that China was flooding America with methaqualone in the '80s, pushed by Reagan friend and drug warrior Paula Hawkins. Her later claims to have demanded to Deng Xiaoping's face that he stop selling dope helped Bob Graham defeat her in 1986. Image
By 1986, Qualuudes had been taken off the market and methaqualone was rescheduled to make it completely illegal. The market for bootleg pills was evaporating. Paula Hawkins here describes the "yellow trail of methaqualone": c-span.org/video/?150709-…. Might be true. I don't know.
By 1990, when Larouche publication Executive Intelligence Review raised the specter of "Communist Quaaludes for America," I don't know if you could still find fake Quaaludes. Maybe you could. The idea of Kissinger facilitating Deng's narco-state is fun, though. ImageImageImageImage
Read 4 tweets

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