The Consumption of a Narrative

Radio Days, directed by Ha Ki-Ho, is a lighthearted comedy film that takes place during the Japanese occupation where the Japanese officials were inclined on the concept of naisen-ittai (Japan and Korea as a single body) through the use of radio.  This is most prevalent when the Japanese official puts pressure into changing the ending of the radio drama, “Flames of Love”, which has incited massive popularity into something that benefits the Japanese hegemony. It is interesting to note the ongoing narrative within the narrative structure of the film how the story within the story is the determining factor of the overall plot of the film.  Due to this structure, one is able to see the production of a story and the feedback it receives from the audience.  Basically, the film explores the meta-dimension of story-telling from the making of a narrative to how it is consumed by the characters in the film and how its feedback in turn shapes and mold the narrative and it repeats itself.  This is most prevalent with whom the protagonist of the “Flames of Love” will choose: the modern woman character who is highly educated and self-absorbed or the character that represents the perfect Korean bride.  In this clash of modernity and tradition, it is important to note that the vast majority of the characters within the film preferred the latter over the modern woman with a sense of nostalgia or longing.  This is seen when K discusses the story with his group of political activist and the wife of Mr. Noh expressing their hope that the latter will win the romantic race.  In the end, the mass populace got the ending they desired after the producer, Lloyd and his companies’ succeed in mitigating the proposed Japanese propaganda.  It is hard to say whether the radio drama narrative is trying to represent the resistance the general population has over modernization or whether they are longing for what was lost through modernization.  

Lenin Amaya