Culture war targets films and dramas portraying Korea’s path toward democratization

‘The Assassin(s),’ ‘Dr. X’ face backlash as political attacks intensify

Political pressure has recently mounted against films and TV dramas dealing with modern Korean history. The film “The Assassin(s)” has faced accusations of distorting history for raising questions about the assasination of first lady Yuk Young-soo, while the popular SBS medical drama “Doctor X: Mafia in White” has been attacked for addressing the May 18 Democratic Uprising.

Experts attribute the backlash to a combination of weakening generational consensus over historical facts and their significance, and political calculations by forces seeking to exploit the gap as an opportunity to expand their support base. They also warn that these divisive and unproductive disputes could develop into a “culture war,” potentially undermining creative freedom and social cohesion.

On Oct. 24, a petition calling for the suspension of “Dr. X” was filed on the National Assembly’s National Consent Petition website. It appeared shortly after the drama’s sixth episode showed its protagonist, Dr. Kye Su-jeong (Kim Ji-won), meeting a victim who lost his older brother to military helicopter fire during the May 18 uprising and had lived for 46 years with shrapnel lodged in his head. Kye urges him to undergo surgery.

The petitioner claimed that the inclusion of the May 18 uprising “appears to be an attempt to force a particular political stance into the story.” Rep. Lee Jin-sook of the People Power Party joined the criticism, writing on social media that “films and dramas are repeatedly being turned into vehicles for conveying partisan messages.”

“The Assassin(s)” has also remained at the center of controversy since its release in September, with People Power Party (PPP) lawmakers accusing it of distorting history and demanding that its production team appear before a parliamentary audit, while also calling for the cancellation of its screening as the opening film of an overseas film festival, a ban on domestic release and confiscation of the proceeds from the film.

The attacks have extended to the actors. Members of conservative groups held a protest outside the home of “The Assassin(s)” lead actor Yoo Hae-jin last month, while Kim Ji-won, the star of “Doctor X,” has been subjected to malicious online comments.

Politicization of cultural content

Many observers say the current level of political attacks on films and dramas dealing with modern Korean history is unprecedented. Allegations surrounding the shooting of Yuk, which “The Assassin(s)” explores, have already been covered several times by investigative programs on major broadcast channels. The May 18 uprising has also been the subject of popular works, including the 1995 drama “Sandglass,” the 2021 drama “Youth of May” and the 2017 film “A Taxi Driver.” However, these works did not face comparable backlash.

Analysts say the changing response to such productions is closely tied to changes in politics.

“Whereas political disputes in the past largely took the form of ideological struggles over broad, overarching issues, they are now fought through micro-discourses and everyday cultural discourse,” Yoon Seok-jin, a professor of Korean language and literature at Chungnam National University, said. “The conservative camp in particular appears to be waging a culture war in an effort to escape its ongoing political crises.”

Yoon described the attacks as “the opening salvo in a political battle waged through culture.”

Another interpretation is that the attacks are exploiting a generational phenomenon in which the memories and lessons of a tragic past have not been adequately communicated to younger generations.

“Conservative forces are turning content about modern Korean history into a political tool to broaden their appeal among younger people, whose awareness of and sensitivity to the history of democratization are relatively limited,” said Kim Heon-sik, a popular culture critic. “Turning May 18, a massacre of civilians, into a political controversy and using intimidation to silence others is a regression in historical consciousness.”

Civil society groups have also voiced concern. People’s Solidarity for Participatory Democracy issued a statement on Thursday, accusing the PPP of using not only artistic freedom but also the public’s right to enjoy culture as tools in political disputes for purposes such as winning votes, rallying its support base, deepening political hostility and attracting media attention.

The Cultural Arts and Sports Committee of the Lawyers for a Democratic Society also condemned political attacks on “The Assassin(s)” in a statement issued Friday, describing it as “nothing less than the return of a blacklist, revived through a combination of public authority and collective intimidation.”

Media esponsibility and historical facts

The way the media reports on these disputes has also come under scrutiny. Critics argue that describing the May 18 uprising as a “controversy” while uncritically relaying conservative claims effectively helps amplify far right discourse, despite the fact that the military’s massacre of civilians has been firmly established in legal and historical terms.

“It is a serious problem when the media labels far right groups’ groundless claims ‘controversy’ and gives them space in public discourse,” said Kim Seong-su, a popular culture critic.

There are also growing concerns that the indiscriminate politicization of culture could damage the cultural industry as a whole.

“People are entitled to express their opinions about creative works, but we must guard against actions that distort the market, such as calls to halt broadcasts or screenings, and attempts to intimidate creators,” Kim Heon-sik said. “If this continues, it will become difficult for works dealing with modern history to make qualitative advances. Ultimately, such content may have no choice but to move to Netflix, where it is less vulnerable to domestic political pressures.”

This article from the Hankook Ilbo, the sister publication of The Korea Times, is translated by a generative AI system and edited by The Korea Times.

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