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The Japan Proletarian Artists Federation was formed in 1929, later dissolving on March 28, 1934 due to repeated government crackdowns and arrests. During that period, all the principal members of the federation were rounded up and severely tortured in prison, causing many to become turncoats. However, in an examination of the activities and behaviors of the left-wing artists who became turncoats, one can see that these individuals did not necessarily abandon their way of thinking. Under the Public Security Preservation Law, these turncoats were of the position that they had only pretended to change in order to get out of prison, and had never truly discarded their philosophies.
The standard-bearer of the Taisho Emerging Art Movement, Tomoyoshi Murayama, and Shirin Yorimoto, who had served as chairman of the Proletarian Artists Federation, had a number of points in common. Both had participated in a proletarian arts movement, and later not only faked a conversion away from communism, but had ties to Korea. Murayama took an interest in Koreans from the start of his participation in the proletarian arts movement, and was in Korea at the close of World War II. Yorimoto was the chairman of the Korea committee within the Proletarian Artists Federation.
After becoming turncoats, left-wing activists became wrapped up in political tides, despite their concerns. Prosecutors sent them to Korea and Manchuria, allowing the artists a certain amount of freedom, though at the same time the prosecutors were able to control them by keeping them in one spot. These men dreamed of solidarity between farmers and workers on the Asian continent, but ended up dabbling with the system, savoring rare Russian cooking provided by White Russians and beginning to enjoy a feeling of superiority and a luxurious time they could not have experienced in mainland Japan.
These artists vaguely realized that the “freedom” they had enjoyed on the Asian continent was provided by prosecutors. Despite that realization, they did not confront it head-on, refusing to offer any self-criticism. The fact that they were born in Imperial Japan leads even left-wing activists to pose no question about them being in a position to exploit surrounding countries.
The experiences of these turncoat artists on the Asian continent have not been discussed much to date, although it is time to examine them with more rigor and provide a critical analysis.
The standard-bearer of the Taisho Emerging Art Movement, Tomoyoshi Murayama, and Shirin Yorimoto, who had served as chairman of the Proletarian Artists Federation, had a number of points in common. Both had participated in a proletarian arts movement, and later not only faked a conversion away from communism, but had ties to Korea. Murayama took an interest in Koreans from the start of his participation in the proletarian arts movement, and was in Korea at the close of World War II. Yorimoto was the chairman of the Korea committee within the Proletarian Artists Federation.
After becoming turncoats, left-wing activists became wrapped up in political tides, despite their concerns. Prosecutors sent them to Korea and Manchuria, allowing the artists a certain amount of freedom, though at the same time the prosecutors were able to control them by keeping them in one spot. These men dreamed of solidarity between farmers and workers on the Asian continent, but ended up dabbling with the system, savoring rare Russian cooking provided by White Russians and beginning to enjoy a feeling of superiority and a luxurious time they could not have experienced in mainland Japan.
These artists vaguely realized that the “freedom” they had enjoyed on the Asian continent was provided by prosecutors. Despite that realization, they did not confront it head-on, refusing to offer any self-criticism. The fact that they were born in Imperial Japan leads even left-wing activists to pose no question about them being in a position to exploit surrounding countries.
The experiences of these turncoat artists on the Asian continent have not been discussed much to date, although it is time to examine them with more rigor and provide a critical analysis.
목차
I. 서론
Ⅱ. 무라야마 도모요시(村山知義)와 조선
Ⅲ. 요리모토 시린(寄本司麟)과 프롤레타리아 미술운동
Ⅳ. 전향자와 「만주」
Ⅴ. 결론
참고문헌
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UCI(KEPA) : I410-ECN-0101-2016-600-002370899