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ReplyDeleteAs a film with Korean nationalism as a central theme, it is not surprising that elements of Japanese imperialism present itself towards the end of the film. The caretaker absolves to undermine the teachings of the Japanese by asking the children what they should truly accept as core values they should live by. In essence, this film portrays the endurance and perseverance of the Korean spirit, even while under the eyes of the Japanese. The power and persistence of the Korean people are revealed as the caretakers of the orphans works for a greater cause, not only supporting the orphans but even enlisting the help of another doctor. The viewer is shown that the Korean can and are able to survive on their own, garnering a sense of respect and accomplishment towards the characters shown. Thus, this film can and should be categorized as nationalistic cinema. It should not be considered as propaganda as the film was created by a Korean. The Koreans are subject to the imperialism of the Japanese, perhaps even allowing this film to be validated as a Fourth World film.
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ReplyDeleteIt is hard to imagine that a movie was produced in such detail despite the lack of technology of that time. There were cameras which captured various angles,and the use of flash back (when Yong-Gil cried for his sister) can be found in today's film. On the other hand, it was interesting to see the flow of the story. At first the movie seem to demonstrate Korean Nationalism, and the hardship of survival of the time when modernization was still in process. As the movie proceeds to the end the notion of community, and friendship was "quickly" changed to Japanese propaganda. Pledging the the Japanese flag, and speaking in Japanese while pledging lost the sense of the original theme of community and Korean Nationalism. Instead it was a symbolism of how Japan is a superior country. Therefore, it is still hard to believe that the movie was produced by independent company.
ReplyDeleteAlthough the Koreans lost their country under Japan, they had their own culture and perspective. The movie, as a whole, portrays a life of a typical Korean from the era and therefore shares Korean Nationalism. The movie does not have a dramatic climax but has a positive theme finding hope and a lesson from the lacking environment. Overall, the movie can be catagorized as drama, as it gives somewhat deep impression with happy ending.
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ReplyDeleteThis film portrayed a different aspect of the colonial era in Korea, separate from the negative influences of Japan at the time. It was able to show Koreans' passion to live as good people even during difficult situations of their lives. I think that the overall point of the movie was to encourage people to strive to be good and not let the Japanese affect that part of their nationality.
ReplyDeleteThere are so many interesting camera working in Homeless Angels. What I remember so impressively is the panning shot which was that the man who was walking to somewhere, suddenly stopped and looked at something. At that moment camera is slowly panning to what he stared at (boys were fighting each other to get the diamond ring). This camera moving can help audience to guess that something gonna be happend before they actually watching it. In the Homeless Angels, camera movement guides us very smoothly what is going on next and helps to spread out story effectively.
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ReplyDeleteSubtle as it is, the first half of the movie taking place in the city presented more conflicts amongst the characters than did the countryside. In the city gentleman's clubs, liquor, and women were plentiful. Crime and poverty was highly visible as emphasized by children stealing and con men, and poverty was conveyed through children working, and orphaned and hungry children roaming around. In the country, we see drastic changes in the orphaned children. They become hardworking, honest people who work together and for each other, rather than for themselves. Here we see symbols of unity. Once con men from the city come into the countryside conflict flares up again. Here I conclude that the city symbolizes outside influences that poison society and the country represents untouched territory free from interference.
ReplyDeleteI thought that the use of children as the main drivers of the story ultimately gave the movie a complex ambivalence in its central message. Although there was a sense of anarchy that seemingly could be settled only by the order of the patient, Westernized adults, the children also indirectly exerted their own power on the viewer by garnering sympathy through simple sentimentality and nostalgia. The use of flash-backs and scenes of a child weeping for a broken family invite the viewer to remember a past (both good and bad) that might soon be left behind and forgotten with the formation of new “families” and allegiances.
ReplyDeleteThis film showed a lot of resemblance to Soviet propaganda films I have seen, many of which stress the importance of community and the simple virtues of hard work under the guidance of a benevolent and wise father figure. Unlike in Soviet films, however, the countryside is held up as an uncorrupted place, while the city is shown to be full of foreign influence and greed. The taffy man seemed to represent something inherently wrong with Korean culture that only served to lead the boys astray. At the conclusion it becomes clear that the boys represent the Korean people (misled, rootless, and weak) and the man in charge the Japanese (enlightened, benevolent, and wise). Even though the boys were not allowed to enjoy the product of their labor (the noodles they made), something about the work and the cooperation was supposed to make them virtuous and productive members of society.
ReplyDeleteIt is quite hard to believe that a quality film like this was shot during the 1940s. The dramatic contrast between the bright downtown of Kyung-sung and the homeless children selling flowers was really well displayed at the beginning of the film. Those children who were then raised in the orphange learned how to act as a whole, carrying out tasks together based on regulation and exchangeability as rational individuals, which the director might have wanted to express his thoughts in an indirect way that Korea itself is a strong nation when cooperated, although this movie was made during the Japanese colonial era. Another interesting aspect would be that the orphanage was available only for boys. It reflects the tendency of Japanese colonialism that regarded Koreans as military and labor human resources at the time.
ReplyDeleteAlthough this film's screenplay was Japanese written and there were instances of Japanese word use and propaganda at the end of the film; the capability of Korea's independence from Japan is shown in the boy's crude mischievous lifestyle that is transformed into a cohesive military unit by the end of the film. When the boys are removed from the negative influences of the city and guided by the man in charge they are able to unite together and survive through different tragedies (monsoon season, boy drowning, etc). The movie ends with a pledge as citizen’s to the great Japanese empire to appease the Japanese but the true motto that the film is portraying of korean’s at the time is through the boy’s daily creed of honesty, courage and love.
ReplyDeleteWhile subtle for the most part, I feel that this film shares most resemblance with other progaganda films. Initially I was skeptical of the role of the main adult, due to the fact that both of his children had Westernized names. It became clearer by the end of the movie that the man represented Japan while the Korean children represented an integration of Koreans into Japan. However I share the share sentiment with the comment made in class on how the viewer is initially "lulled" into the film and is uncertain of what direction the story is going.
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ReplyDeleteUndeterred by the less than perfect sound and visual aspects, this film manages to portray a sense of unity and compassion that seems to exist agelessly in the minds of directors. Though I found parts of the camera angle changes to be awkward and some of the acting to be too noticeably performed, it was an intricately made film considering its date of birth. The underlying storyline along with the characters' concern and support for one another made it on the whole powerful and touching.
ReplyDeleteThe film, Homeless Angels, portrays not only a single man's life but also the lives of Korean citizens at the time under Japanese power. The film subtly speaks about the political issues of such period; such as the appearance of Japanese power at the end of the film. Acknowledging the political aspect of the movie, the level of the production astonished me. Despite the fact that the film was created at the time of inefficient technology, I thought the movie conveyed its storyline very clearly. The structure, sound, lighting and camera-work, all aided in making the film successful. Being only introduced to films created during limited time period, I was grateful to be invited to an old Korean film which taught me both the sense of the lifestyle and film structure of the time period.
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ReplyDeleteChock-full of unoriginal, stock symbolism that from the very beginning serves to alienate faithful Koreans from those who bow down to Japanese imperialism, “Homeless Angels” is a crude attempt at indoctrinating Koreans. Symbols including those that juxtapose the adult/teacher and the child, the runaway and the prodigal son, the rebel and the renewed, enlightened soul, and agrarian landscape and building towards modernization – all unashamedly try to falsely teach Koreans that they are under the pure and good tutelage of the Japanese. Apparently the Japanese must naturally be the teachers as they have (albeit recently) undergone modernization “helping” Koreans, who in their unenlightened state are beggarly. Most disturbing is the parallel that has been dared to set between the teacher-student relationship and the Japanese-Korean relationship, as if the dynamics within a classroom can ever be compared to the victor-victim setting of imperialism. The admittedly technologically advanced quality of this film, its incorporation of comedy, and usage of the Korean language throughout is extremely concerning as it may have bought the subconscious approval of some viewers in the 1940s. “Homeless Angels” delivers the perspectives of those who actually believe that being colonized is beneficial as they think it brings modernization. I would say it should never be thought of as Korean film – each and every scene applauds subjugating oneself to victimization and flippantly excuses colonization.
ReplyDeleteThis film reminded me of Taiwanese "Healthy Realism" propaganda films. Both types of film advocate hard work and good morals. The governments at those times intended to keep people under control and appeased. While both films do not represent native sentiments due to government policies, the workmanship involved in crafting these films should be included in their respective nation's cinema histories. On an important note, Taiwanese Healthy Realism was created in the 1960s. Although one film is in black and white and the other is in color, the techniques are similar. This made the impression that Korean cinema is unique and advanced in its own right.
ReplyDeleteThe utilization of multiple angles, flashback techniques, and strategic placement of objects in each shot adds depth and interest to an already engaging plotline. Along with surprisingly advanced cinematography, Homeless Angels is infused with morality, teaching swindling children to uphold honesty and community. Although the film clearly conveys pro-Japanese messages, it seems that it should be classified as Korean national cinema since Japanese imperialism is such a part of Korean history.
ReplyDeleteEven though Korea, suffered from Japan, had difficulties at that time when the movie was released, I could see the humanism in the movie in that despite the hard time, the hero, tried to help homeless children. In addition, this movie has its own special meaning that in spite of the lack of the cinematic technologies, the scenes were filmed in various angles. However, in other aspect, I was sad due to the last scene, portraying the people in the movie bowed toward the national flag of Japan and there were Japanese subtitles during whole movie. However, it was special time for me in the respect of being able to see the phase of the 1940s in Korea very specifically.
ReplyDeleteI thought the movie was quite well-made and the storyline wasn't too bad, despite the fact that many scenes probably could not be restored and had to be cut off. However, the ending did strike me in that saluting the Japanese flag had nothing to do with the rest of the story. Anyway, it was interesting to see how the street children could be shaped into responsible kids through love, trust, and discipline. It showed how faith could really affect and change people's fate. Also, I was quite surprised by the setting of the movie, because I had expected the city to be less modernized and developed.
ReplyDeleteHomeless Angel is a typical story of good and evil where "good" characters turns out well and "evil" characters turns out bad. Some things to note, however, are not the plot of the movie, but the historical evidences of Japanese Invasion. Economic condition did not allow many parents to be able to support their sons and daughters. There were many children forced to beg for money on the streets while many orphans sustained their life by stealing. Also, what surprised me the most was, by the end of the movie, children of Hyangrinwon pledging to Hinomaru, the flag of Japan. Personaly, I do not have much knowledge of history, but such scene indicates how much censorship there was at the time when the movie was released. Overall, this movie is a good depiction of Japanese suppresion and economic status of Korean in general.
ReplyDeleteDespite the time this movie was made, Homeless Angels was very advanced in cinematography. The actors and actresses were shot from many different views making this movie more captivating to watch. However, the lighting of the movie during night scenes was very poor and hard to see. Also the sound quality was poor and the music between scenes stopped abruptly. Besides the filming quality, the meaning of the movie was very strongly conveyed. Although the opening scene showed the strong influence of Japan by showing modernization in Korea and a banner with Japanese writing, I feel the real meaning of this film is showing the importance of honesty, courage, and love. This movie showed that having these qualites can really make a difference and can really change and strengthen a country.
ReplyDeleteThe film, Homeless Angles, is a melodramatic genre film with a happy ending of a brother and a sister dramatically meeting up after they were apart. However, at the same time, this film mainly portrays the ideas of nationalism with a hint of Japanese imperialism by showing the Japanese flag at the end of the film. Despite of these facts, the camera work was the very successful and impressive. The camera work made the movie very effective in an emotional and dramatic way using the technology of zooming in and out.
ReplyDeleteThe very first thing I noticed about the film was the film technique. Knowing how limited the film technology was at the time, I was surprised how well they panned the camera, the way they took certain shots at different angles, etc. Honestly, the filming technique used in that movie were very similar to modern day films. The camera was very active, and there were some (pretty funny) parts when the young boy had flashbacks. I'm sure that it must have been revolutionary at the time. I also noticed the raining scenes produced by using sprinklers.
ReplyDeleteApart from the surprisingly masterful filming techniques, the acting was also very high quality, especially from the children. I didn't expect to enjoy an old film this much, but genius directing, a good story, and quality acting are the ingredients to making a quality film.
Oh, and it was also interesting how many English names there were in the film. I don't know what significance that held, but I'd like to know.
During the time this film was being produced, Korea was going through a period of “Japanization”; this was clearly portrayed through various Japanese influences on the dialogue, symbols, and signs within the movie. At this time period, national pride played a significant part in the Korean Culture. To support this new wave, I feel like the movie had a strong foundation based on themes such as positivity, hope, strength, and family. On a more obvious note, the movie was very choppy at transition points, and there also were several awkward, long moments of silence before scene transitioning. Furthermore, the effects were very low quality such as all the flashbacks that some of the characters had. This movie made it very apparent how far the film industry has come and how differently society today defines “good” entertainment.
ReplyDeleteEven though "homeless angel" was first korean film made by Choi In-gyu who worked in poor environment, it had short but has emotional and interesting story line. It showed lots of Japanese vestiges thorough this film. Through this film, it shows life styles of homeless children and people who supported those children. One thing I feel sad about this film was cutting some scenes and actors speak both Korean and Japanese. Besides that, it had good quality of story line and acting.
ReplyDeleteI thought there was major use of propaganda in “Homeless Angels”, where the teacher represented the Japanese people and the poor, uneducated children represented the Korean people. This was most evident in the last scene of the movie when the doctor was lecturing the children, telling them that he was so proud of them that they had conformed to the “right” lifestyle. The idea that I got from this scene was that that was what the Japanese thought about the Koreans. Japan wanted to show Koreans that they should not rebel and if they are obedient children, there will always be a happy ending.
ReplyDeleteThe genre of this film can be categorized as Korean national cinema. It depicts the determination of the Korean people to survive in the face of hardship, showing strength and self-reliance. Although less than perfect, the film shows how the Korean people are able to get together to maintain their traditions, morals, and sense of community despite being under the Japanese rule. In a sense, this film is a symbol of Korean national pride and strength, fueled by community and love for one another.
ReplyDeleteAfter watching the movie Homeless Angels, I was surprised how well the story came together. I found that some of the camera angles really captured the mood of the scene, but because the film was not fully restored or because of the lighting I couldn't tell what was going on in some scenes. This movie showed me how movies had to be back when Japan ruled over Korea due to the fact that the children represented the Koreans and the "Father" of the children who was loving and caring was suppose to represented the Japanese government giving the impression that if the Koreans would follow the be good people according to the Japanese then everyone would be happy.
ReplyDeleteIt is true that Homeless Angels's film editing is not smooth enough (for example, the audience can tell which take was cut off and replaced with a new take by the abrupt pose change) as recently screened movies. However, I would like to say the dynamic camera working, the historical meaning, and the storyline set the value of this movie. In the movie, there were so many Japanese-culture based factors such as the Japanese subtitle, which might have been so natural to put it in that period. Homeless Angels remind me of the North Korean propaganda movie that tries to artificially put a certain ideology to people. Though the overall stoyline and background is certainly reflecting Korean culture and sentiment, the ending seems very Japanese-ideological. By the sudden change in the ending, we can see the historical situation of 1940s in Korea: every media was sensored by Japanese and people had to match the Japanses standard. All the strengths of Korean, however, to get to gether and enlighten each other are also shown in the movie, which can never be knocked down by other country's persecution.
ReplyDeleteAlthough this Korean film had been created back in the 1940's, the various camera angles and filming techniques allowed the movie to keep the interest of the viewers. The intricate plot, the use of flash backs, and the different camera angles captivate even a contemporary audience. What really interested me was the use of flash backs. Taken for granted in modern films, flash backs were not always used in early films. The flash back is an excellent film device that can create a reference point for the character's current predicament. Combine this with the multiple camera angles from ground shots to higher angle shots and you have a good Korean film.
ReplyDeleteThe film's plot was simple but also approached a number of then contemporary problems. Choe In-Gyu used a number of characters to demonstrate the collective ideals of the Korean actors. For example, the urchin children who always represent the future of any nation are at first unruly and uncontrollable. Under the watchful eye of the kind Mr. Bang (if that isn't his name I apologize) those very same children discover the meaning of courage and loyalty. Dr. Ahn's (if that's not his name I'm sorry again) romance with Kate from Germany is representative of Korea's interaction with foreign countries and he ends up devestated by the relationship. The guardians of Myung-Ja and Young-Gil, who were representations of innately bad people, end up learning the true value of familial bonds and responsibility for their actions over others. In the end, we are finally reminded of Japan's colonization of Korea. Through the thinly veiled propaganda, the viewers now associate the resolution of all existing conflicts with the Japanese oath and ceremony held at the boy's dormitory at the end of the film. This association demonstrated exactly what the Taft-Katsura Agreement implied: the colonization of Korea by Japan would better its cultural and other societal developments. The "Homeless Angels" of Korea had found their home under Japanese rule. In my opinion, the suggestion was that the Korean people were inherently good, but could be better with Japanese assistance. This alone wasn't surprising, but how effective and impactful it could be certainly was.
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ReplyDeleteIf I look at this film as a quasi-documentary melodrama I think it works. Looking at it this way allows me to appreciate this film as an artifact of history as well as a fictional story that with time continued to change shape and morph into something both symbolic and ironically representative of Korea's feelings towards Japan's occupation in the 30-40s. The action of subjugation, whether it be the imposition of capitalistic/nationalistic/religious ethics or whatnot, is something viewers can relate to from an extremely personal level to a nationalistic one which makes this primitive film still very relative to a modern audience. However, even though this film is an invaluable part of Korean history, I was disappointed by the director's lack of experimentation, editing, and storytelling. The film just felt unambitious.
ReplyDeleteThe story line of the Homeless Angels proceeds quickly towards the end and includes some unnecessary scenes, such as the part where Koreans are vowing to the Japanese flag. The film clearly shows Korea’s condition during 1940s and gives a moral to both adults and children. This movie describes Korean nationalism, but it is somehow restricted under Japanese control.
ReplyDeleteI felt that the film used the characters as symbolism to reflect the personalities of Korean and Japanese people during that era. I felt that the owners of the homeless brother and sister were used to symbolize the general Korean people as being immoral and selfish. I felt that the director portrayed Korean people as being unjust for disregarding these children and letting them become homeless with no hopes for success. The man who took in the children as well as his brother in law were used to symbolize Japanese people as being caring and optimistic and working to influence people to create a better future. This was evident at the end of the film when everyone, including the immoral owners who came to take back the children, pledged allegiance to the Japanese flag. This indicated that since the children and the ruthless owners have become loyal to the Japanese rule, the once terrible owners will become better human beings and the children will ultimately have brighter futures.
ReplyDeleteHomeless Angels portrayed a sense of what Korea might have looked like in colonial Japanese rule, yet lacked the proper identity of a Korean nation. The acting was obviously exaggerated, but I felt it was engaging for the audience, because of the authenticity of the film and the film's real portrayal of Korea during a historical time. In a subtle way, the children in the movie represented a Korea during a time when Koreans were suffering, when success meant being Japanese. So the end of the movie showed that embracing the Japanese customs and culture, was a sure way out of poverty. I also thought that the cinematography was well done especially in the beginning, when it showed a missing fourth wall, when the camera was sliding sideways from inside to outside of the house, when Young gil ran away. Also during some of the barn scenes, the camera was moving up and down the shelves where the boys slept.
ReplyDeleteAt first, the film gave me a sense of Korean nationalism. Choe In-Gyu demonstrated that through right teachings and correct education, children can become better human beings and perhaps leaders of a country such as Korea. However, towards the end, he reveals his true intentions of creating this film by introducing a scene in which these children vow their allegiance to the Japanese flag. He symbolized homeless, helpless children as Koreans who were in need of Japanese, parental control. For example, one of the children prevented other children from leaving the house. Another example is when a boy bought kettle for some taffy and still managed to return for forgiveness. By incorporating these scenes and the last scene, Choe In-Gyu conveys the superiority of the mother country, Japan, and suggests the idea that assimilation into Japanese culture is perhaps the right, if not best, way to live for those Koreans.
ReplyDeleteOn a side note, I couldn't help but notice that he abruptly brought theme of Japanese imperalism towards the end. It's arguable that he might have done so to prevent censorship.
The plot of Homeless Angel was very dramatic, but it was interesting to see how the film reflects the epoch. For example, the last scene, vowing to the Japanese was an unnecessary scene, but it reflects the era the Japanese control. It was also interesting to see how Koreans looked like and the language used in that era. Koreans were very small and skinny. Comparing to these days, the language Korean was a bit different such as the accents.
ReplyDeleteThe Korean film "Homeless Angels" is a humanistic perspective of enlightment, where the homeless children are being saved by their fellow Koreans. Rather than a clear-cut, concise dialogue, the background music and the one community voice depicts the enlightment of that period. The old-fashioned camera angles and the use of black and white creates a very realistic and enlightening atmosphere for the audience. This use of technique conjoints the audience, and explains further on the theme of maternity, and shows them the sense of a need for a real community-identity in our society.
ReplyDelete"Homeless Angels" was interesting to me firstly because I have never seen a Korean black and white film. The film seems to portray the life of a group of orphan boys and a man who tries to help them, but the end the movie abruptly clearly turns into propaganda. I thought this scene was bizarre, because it did not make any other references to Japan earlier in the film, and it contained Korean dialogue with Korean actors. As all of the characters suddenly pledge to Japan, it is clear the kind of control on censorship that Japan had.
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ReplyDeleteThe Black and White film made in 1941; titled "Homeless Angels", successfully portrays a political message and Korean cultural values at the same time. The main theme that prevails: loyalty to Japanese authority, is symbolically shown by the punishments or consequences that follow children's betrayal. An example of Korean cultural values is the characters' sharing of friendship, love, and acceptance. When a young girl lost her younger brother, a doctor provided her a job and even helped her find her brother. Also the strong bonding between the young homeless boys was quite impressive; it acts as an important force to fight against the immorals of the society.
ReplyDeleteThe only parts of the movie that I find unnatural are the overall progress in the story and the children's acting skills. For example, the children cries like an adult and talks or behaves unfit to their age in some scenes. However, considering its early year of production and available filming techniques, the overall visual effect and contextual depth are surprisingly successful and profound.
The genre of this film most likely fits into 'drama'. However, as a whole, it can also be categorized into a 'documentary' film because it points out an important issue about the homeless boys back in the time.
What strikes me the most about this film is at the end. To me very unnatural and awkwardly positioned, the children abruptly raise the Japanese flag and start praising Japanese King and the military and being thankful for their generosity. Weather it was forced to be added or not, which is highly possible in 1941, I think it changes the whole atmosphere of the film; being about a angelic priest to glorifying Japanese colonization indirectly with symbolism. For example, the poor children are Korean, the kind helpers are Japanese, and the thugs are Korean politicians and powerful individuals. If it were its aim it is at great success without being too literal.
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