The Historical Context in Emperor of the Sea

The Historical Context in Emperor of the Sea

The transformation in Korean film over the last ten years is inextricably linked to the South Korean government's entry plan. Considering everything, it's clear that this shift was precipitated by the true decline of the Korean entertainment industry in the mid-1990s (Shin, 2005). The film "Head of the Sea" depicts the struggles of a young slave who climbed to become one of the ocean's most illustrious traders. Emperor of the Sea, a renowned Korean Drama based on a novel by writer Choi In Ho, hinges on the presence of an actual historical figure. During the Unified Shilla Dynasty (676~935), Jang Bo Go rises from humble beginnings to become the ocean's tactical administrator. 

The film focuses on the exchange of power and how Jang Bo Go defies odds by becoming one of the five emperors of the sea. The setting is pre-historic, before industrialization and urbanization and the power struggles depict the era in history these events unfold (Kim, 2004). The historical significance of the film is tremendous especially while relating to the Korean film industry. Emperor of the sea has been rated highly as one of the top films in south-Korean K drama industry portraying the strides made in production. It ranks as one of the best drama films in the world and because of the relevance to events that occurred in the 19^th century and is based on the real life events of a merchant named Jang Bo Go. 

With the majestic backdrop and fierce fighting (unlike some period dramas where the soldiers brandish their swords at the air and fall dead from a mere brush with the breeze), this is one epic battle that spells “solid production values” in capital letters (Robinson, 2005). Cinematography is breathtaking and reminds me of a similar opening scene in Kingdom of the Wind, one that held so much promise because of the exhilaration the audience feels while watching it. The fight scenes are executed realistically and on an impressive scale which add to the grandeur and excitement. Even in the frenzied movements of soldiers and horses, the shots are beautifully framed, like they are works of art. 

The setting of the film occurs in an era where the rich were in power and controlled every aspect of the economy while the poor and those born in impoverished backgrounds had to work strenuous jobs to make ends meet. Goong-bok and Yon are slaves. Goong-bok’s dad was the best shipbuilder in Chunghae, but he was of lowly slave status (Kim, 2004). His son runs away because he can’t stand the stifling subjugation and dreams of becoming a merchant. Although he ends up getting caught, this became the first act that would set him up for his success in the subsequent expeditions (Kim, 2004). The repercussions of the failed attempt to escape showed the injustice the poor are subjected to; it is injustice because they were punished for dreaming about becoming more than just slaves. 

Since time in memorial, people in power have used their advantageous position to oppress others and to get monetary advantage over others in the community. When they fail to get what they want they lash out and use influence and power to tilt things in their favor. Joong Dal is the ships foreman and a son to a wealthy man which made him a noble in the society; however, he is not as noble as he is expected to be. Instead of using his position to improve the empire, he spends his money gambling and on personal gratification (Kim, 2004). He especially used his position to impose fear on his subjects. At one point he punishes Goong-bok because he had tried to run away; he took the opportunity to settle a grudge he had because Goong-bok had ambushed and beaten him. 

In the 18^th century, corruption was very rampant in Korea and hence is one of the overarching themes addressed in the film is the corruption and misappropriation of funds for personal gain (Shin, 2005). For instance, Joong Dal is paid by a merchant to repair a damaged ship behind the governor’s back. Because he is greedy he accepts and goes to the man in charge repairs to get the merchants a good repair person. The rot, so to say, in the society is as a result of oppression and dictatorship from the leaders. The shipyard was only allowed to make repairs on battleships sanctioned by the governor’s office which did not bring in good returns. As a result, the officials had to find corrupt means to compensate for the limited revenue. 

The emperor of the sea is set in an era where slavery was at the peak; Silla communities were exposed to most of the pirates traversing the shores during that time. Goong-bok later Jang Bo Go was not especially feeling the oppression his people were exposed to by the Silla rule because he was of common decent (Kim, 2004). Throughout the film, the lives of slaves is shown; the oppression they face and the harsh working conditions without reparations. In history, slavery has been one of the largest social injustices people face; the history of Korea is founded upon numerous lost lives because of harsh treatment by law enforcers and overworking (Shin, 2005). In certain situations, they are forced to go out of their way and beliefs to meet their financial and personal needs. For instance, Jang Bo Go’s father accepted the repair on the merchant ship to broker a deal for him in spite of going against his moral principles. 

The North and South Korean political heritage and structure are improved systems of the monarchy displayed in the film emperor of the sea. After the loss of Japan in the Second World War North and South Korea were split parallel at the border making them different states (Robinson, 2005). The North Korean government system is built in a similar way as the society depicted in the emperor of the sea. The dictatorial regime ensued on the citizens where they were not allowed to live their lives as they wished by rather were expected and forced to obey the oppressive rule of the Silla government (Kim, 2004). In similar context, the North Korean people live in a semi-military rule which deprives them of freedoms enjoyed by other people around the world. In such a system, the number of rebel casualties are usually rising because each of them believes that they deserve better living conditions.   

Political feuds often end up in bloody conclusions because the leader’s political interests are sensitive to their individual agendas. In the film, Jang Bo Go makes marriage arrangements for his daughter with a King Munseong; according to the Silla government, he was treading on thin ice because it appeared like a ruse designed to overthrow the government and earn Jang Bo Go influence over the other royals (Kim, 2004). Keeping in mind that Jang was from a poor background, the royals did not take it well and stopped the efforts. Fueled by anger because of what they did, Jang plotted behind the royals backs making them turn on him and make plans to execute him in return. In the end, Jang Bo Go is killed by an assassin called Yeomjang hired by politicians within Silla’s government. This goes to show the social evils in the society which transcend through authoritative regimes. 

Political influence is a major theme employed in this film which is a common society norm in the current political field. In recent history, different figure heads have tried to increase their political influence on different political fields or interests. Jang Bo Go did the same when he got to a position of influence. Since he controlled a large naval fleet, he requested the king of Silla to allow him to build a garrison at Cheonghae which would neutralize the pirate threat in the region (Kim, 2004). As a result, he foresaw all the shipments into Japan, China and Korea earning his as much political influence as a noble of royal decent. Unlike common occurrences where the leaders with such authority turn into oppressors, Jang Bo Go’s biggest objective was to create a legacy for generations which would come after him. 

Preservation of political interests was common in the early 19^th century; kings would marry their daughters with other kings to secure similar interests, seal treaties and expand into new domains. Any efforts directed to the progression of a dynasty was welcomed as an opinion by leaders with visionary mindsets. This explains Jang’s interests in marrying his daughter to an influential man. In the last ten years in modern day civilization such norms are beginning to become things of the past; political interests are sealed using diplomatic means where resources are exchanged instead of marital vows (Kim, 2004). The effectiveness of this method is only dependent on the good faith of the parties involved, however, they are agreements concluded over signed treaties. “Consummation” so to speak, of the agreement is not guaranteed that is why a hand in marriage is one of the most effective determinants of good relations when treaties are sealed. 

The Emperor of the sea has since been considered a Korean historical legendary figure and featured in museums and Television shows in the country. This was a pivotal era in the Korean history and even though it has an undesirable end, it points to an era of oppression and social injustice which is being fought in some places in Korea (Robinson, 2005). The historical context of the film is within a dictatorial Korean regime where a son of a boat builder decides not to live like his father in fear and oppression and decides to spend the rest of his life gaining political influence. The film tackles different aspects of a dysfunctional society which faces evils such as corruption, extrajudicial executions, slavery, misappropriation of funds and oppression from law enforcement officials. Within such systems, some people are willing to stand and fight for their dreams and beliefs and if they do conditions might favor the generations which come after. 

 References 

Shin, J. (2005). Globalisation and New Korean Cinema. In C. Shin & J. Stringer (Eds.), New Korean Cinema (pp. 51-62). Edinburgh University Press. 

Robinson, M. (2005). Contemporary Cultural Production in South Korea: Vanishing Meta-Narratives of Nation. In C. Shin & J. Stringer (Eds.), New Korean Cinema (pp. 15-31). Edinburgh University Press. 

Kim Jong-hak Production (Director). (2004). Emperor of the Sea [TV series].