Postwar South Korea seen through gaze of Japanese photographerーNHK WORLD-JAPAN NEWS

Key Concepts

• Kuwabata Shise: Japanese photographer documenting South Korean history (1964-present).
• Normalization of Diplomatic Ties with Japan: A contentious political issue in South Korea in the 1960s, sparking protests.
• Park Chung-hee Regime: South Korean military dictatorship (1961-1979) characterized by censorship and suppression of dissent.
• "Miracle on the Han River": Rapid economic growth in South Korea during the Park Chung-hee era.
• Historical Documentation through Photography: The power of visual records in preserving and understanding the past.

Early Documentation of Political Unrest (1964-1970s)

In 1964, Kuwabata Shise, a Japanese photographer, arrived in South Korea during a period of significant political and social upheaval. This period was defined by two major events: the impending normalization of diplomatic ties with Japan and the establishment of Park Chung-hee’s military dictatorship. The normalization process was deeply unpopular with many South Koreans, leading to “large-scale demonstrations erupting around the country.” The Park regime responded with strict media control and censorship, effectively silencing the free press. Kuwabata, however, successfully navigated these restrictions and began documenting the events unfolding around him. His initial focus was on covering demonstrations against the normalization of ties with Japan, marking the beginning of a decades-long commitment to documenting South Korean society. He has amassed a collection of “over 100,000 images” to date.

The Underlying Motives of Protest

Kuwabata’s observations extended beyond the stated purpose of the protests. While the official reason for demonstrations centered on South Korea’s foreign policy towards Japan, he perceived a deeper, underlying discontent. He states, “The ostensible purpose of the protests was to demonstrate against South Korea's humiliating foreign policy toward Japan. But I saw another underlying motive at the time, a backlash against the domestic situation.” He believed this “backlash” stemmed from both economic and ideological grievances, forming the “unspoken basis of the opposition to the Park Chongghi regime.” This insight highlights Kuwabata’s ability to perceive the complexities of the situation beyond the surface-level political rhetoric. He primarily documented these events from the sidewalk, observing the protests at Korea University without directly entering the campus.

Documenting the "Miracle on the Han River" and Beyond

Kuwabata’s work wasn’t limited to political demonstrations. He continued to visit South Korea, documenting the broader changes occurring within the country, including the period of rapid economic growth known as the “miracle on the Han River.” His photographs taken during the military rule, when “freedom of press was virtually non-existent,” are now considered “invaluable resources to understanding the era.” He also captured images of the lingering scars of the Korean War visible in the streets of Seoul and further rallies demanding the president’s resignation. This comprehensive documentation provides a unique and vital historical record.

The Significance of an Outsider’s Perspective

The documentary highlights the unique value of Kuwabata’s work, emphasizing that it was a “Japanese person, not a South Korean,” who documented the realities of South Korea throughout his lifetime. This outsider perspective allowed him to capture scenes “as they unfolded” with a “clear lens,” free from potential biases or self-censorship that might have affected a local photographer operating under the restrictive regime. One South Korean peer notes the power of his single images, stating, “This photograph is incredibly powerful. It captures the heavy and dark mood of South Korean society of that time. South Korea is distilled in his single image.”

Preservation and Legacy

Now approaching his 90th birthday, Kuwabata is focused on preserving his extensive photographic archive for future generations. This involves a large-scale project of “digitizing the volumes of negatives and positives taken over the decades.” He believes his photographs will serve as “historical materials” and wants to proactively “share them” to ensure their accessibility. He articulates his motivation: “I believe the photographs I leave behind may be effectively used by future generations as historical materials. So I want to be proactive in sharing them.” The documentary concludes by emphasizing the enduring relevance of the past, stating that it “may be as relevant as to what goes on” in the present.