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Home Alone and the Juche Ideal: A Study of a Disguised Enlightenment Despite the best efforts of Hollywood and the American cultural machine to output idol after idol to American decadence, which not even the best bourgeoisie propagandist could spin as anything more culturally relevant than, say, masturbation. However, occasionally, these dizzied devils will fail to catch a subversion, and the American 'comedy' Home Alone stands as glorious testament that Juche can emerge even from the most toxic cesspool. Home Alone starts off fairly typically for American media. We see the American family, that most Satanic of groups, revelling in the glory and corruption that capitalism brings. It is, of course, a typical decadence, and a common theme in most American media. Yet, Home Alone has no illusions; even in its opening scenes it rips apart the myth of family, exposing the oppression and inequality that Kevin is faced with under the cover of - and indeed, to maintain the cover of - the unified family, ending with his banishment. The lie of the family shows itself in its full glory the next day. When it comes down to it, his own 'family' do not even recognise him, and leave for Paris (a typical wasteful bourgeoisie pursuit - let it not be said that Home Alone is ready to pander to liberal-capitalism!) with Kevin left at his house. It is at this point that the Juche character of Home Alone comes into full view, and Kevin's own journey through the ensuing days in itself reflects this. Initially, Kevin turns his isolation into individualist decadence; of course, that is the way of capitalism, and capitalist propaganda cannot be said to be ineffective in harnessing dissent into its own channels of what it claims to be pleasure. As sad as it is, this is not controversial. Yet, as time goes on, Kevin becomes scared - disillusioned, even - with this. He is presented with two main spectres - Marley and the "Wet Bandits" as they are called. It almost goes without saying which is which. The Wet Bandits cannot be seen as anything other than allegory for Western capitalism and the United States. Of course, it is a rather heavy-handed metaphor; but, as they say, if the shoe fits. It disguises itself as caring and concerned, and out to protect, but ultimately it is nothing more than vermin, simply seeking to pillage its enemies. This hardly needs explaining, naturally, but it should be remembered. By contrast, Marley is a guiding figure, a representation of the necessity of Juche. His heart is pure, and his own rebellion against the facade of family (though not against the concept of family; after all, what is Juche but the national family, in its true form, a form that needs no facade?) has left him ostracised, demonised. Of course, is it not the same for Juche? Our entire ideal has been portrayed in no uncertain terms as a devilish, loveless dictatorship by the West; we, too, are called murderers. An important reminder, perhaps, of how viciously capitalism subverts the social. Meanwhile, Kevin is alone. Only his mother, Kate, pursues him; her own journey is something of a subplot of course, but it does quietly echo the main theme, as she is sustained by others while her own blood idly wait by. Kevin prays for his family back; he observes other families wistfully. Yet, in his heart, what Kevin wishes for is the concept of family. Do we not all? In many ways, it is a problem of capitalist media that our deepest wishes are taken, butchered, and sold back to us. What Kevin wants is true family, but he is lead to believe he seeks capitalist family. Yet, ultimately capitalist family cannot help. Neither can religion. Thus, the main act. Kevin's house, his fortress, his nation, is invaded, as the bandits attempt to strip it clean. There is no rhetorical defence against such actions. No matter what he could say or do, he would receive no help; his calls to the police go unanswered, although they do finally turn up when the beasts are downed (the United Nations, indeed!) and he is left to fend for himself. Allow me to restate the three principles of Juche. Chaju, charip, chawi; political independence, economic independence, national defence independence. This is the essence of Kevin's struggle. His war against the oppressor is launched using every spark of imagination, every available resource, every single tactical advantage he has. It is complete devotion to the cause of liberation and independence. Kevin's struggle is the struggle for Juche, and the struggle of Juche. Of course, the West are no easy enemies, and he looks to be on the point of defeat as the oppressor prepares to subject him to unspeakable cruelty. Yet, he is saved by Marley's intervention. What does this represent? It is that Juche is no mere nationalism. Juche is internationalism; it is the achievement of revolution through the brotherhood of the Juche states, through the international family of national families. There are fools who speak against Juche, claiming it stands against global revolution and emancipation. What cowardice, what idiocy! Juche is, in fact, the only tool by which global revolution can be achieved; imagine what would have happened if Kevin attempted to seize every house and confront his opponents head-on! Home Alone in many ways can be seen as not only a production of ideology, but of practice too. The movie ends on something of a high note, with the reunion of Kate and Kevin followed by the family in general. Some may see this as reactionary, or even as a simple glossy Hollywood ending; yet, I believe this is a misinterpretation. Kevin and Kate (and of course Marley), through their experiences, now embody Juche. Even as they reunite, their love for each other is genuine; it is this genuine love, not based on family ties, not based on the capitalist hegemony, that Juche is all about. There has been an awakening in them of that. And they are one step closer to the truth. Home Alone is an extremely valuable movie. One can only wonder how it slipped through the net; I can only hope for more to come. The Juche revolution may have succeeded in Korea, but there is more to come, and the cultural infiltration of Juche in a manner as sublime as this can only move us forward. Long live the Juche idea!
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Jan 18, 2011 20:35
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| # ¿ Apr 26, 2024 17:34 |
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