President
"The 1970s was indeed the golden age of Juche art, when our literature and art, following the Party's Juche-oriented line on literature and art came into full bloom."
Many years have passed since the heyday of Juche-oriented arts was born in the DPRK. But Korean people look back upon those days and remember the immortal exploits of Chairman
All is the same as the days when the heyday of Juche-oriented arts was created, the story about the days when the Chairman reproduced the gem-like details of the original work perfectly while adapting a masterpiece "The Sea of Blood" to the screen still touches people to the heart.
We can see the Chairman's unusual wisdom and great devotion dedicated to the creation of detailed portrayal of Korean feature film "The Sea of Blood" through his guidance to the detailed portrayal of the devices for "Ul Nam's house" built in Korean Film Studio and to the process of filming a burning "village in Jiandao" at the field of Mujin-ri.
On November 26, Juche 58(1969), the Chairman gave film producers the precious teaching that authenticity should be given to the devices at the studio for the Part Two of Korean feature film "The Sea of Blood".
That day, seeing the devices put up at a studio, he said: the photos of Ul Nam's house taken at Samsu, Ryanggang Province show a little high stone steps and a straw fence, but what's the reason why such things are disregarded. What is worse, the background of Ul Nam's house does not coincide with the photos taken outdoors, which show the branches of a willow behind the house drooping down the house lower. They shouldn't film the background arranged haphazardly, even though it may not well be seen in the pictures.
Being advised by him, some producers were sent to Samsu where a locale was built to see the situation. According to them, the stone steps of "Ul Nam's house" was a few cm higher than that in a studio and the real tree was a little different from the imitation tree in length and angle. That's why officials and film producers failed to tell the difference.
It was the Chairman who regarded the unusual sensibility to and authenticity of artistic depiction as its lifeline that found out a subtle distinction of the device and pointed out that authenticity should be given to it.
One day in early September, Juche 58(1969), he gave an energetic guidance to the filming of the burning "village in Jiandao" of Korean feature film at the field of Mujin-ri in the suburbs of Pyongyang.
How to film the scenes of the sea of blood in which Korean compatriots who lost the country and went abroad to seek a way for living suffered from terrible massacre by the Japs' punitive operations was very important issue of whether the idea of the immortal classic masterpiece, there will be resistance where there is oppression, would be conveyed as it is or not.
Attaching great importance to the filming of the burning "village in Jiandao", the Chairman personally visited the filming spot and gave meticulous guidance on ensuring the authenticity of portrayal, regardless of boiling weather and screening smoke.
When they failed to build a fire as planned because of his health, he pointed out that screening smoke was not thick, so that they should build bigger fire with more screening smoke to make atmosphere improve irrespective of his health. As the actors who played the part of the riding Japs, who committed atrocities against the "villagers in Jiandao" with guns and swords, hesitated to ride and play their role before him, such as "stabbing old man" and "throwing a child into fire", he said that they should not hesitate but ride past bracing up and play their role as written by script so that the brutality of Japs could be more vivid and the scenes of the sea of blood be completed as required by the original work. Like this, the Chairman gave energetic guidance on ensuring the authenticity of detailed portrayal of the film.
Indeed, under the remarkable intelligence and great devotion of Chairman
