Proletarian Melodrama: Censorship, Popularization, and Consumerism in Colonial Korea

Abstract This article introduces the 1933 novel After the Doll’s House by Ch’ae Mansik as an example of how revolutionary messages were presented through melodramatic narratives in colonial Korean proletarian literature. Between 1928 and 1930, several members of the Korea Artista Proleta Federacio (KAPF), most notably Kim Kijin, insisted that melodrama—a narrative form widely distributed in popular newspapers—could circumvent censorship to introduce revolutionary representations to the public. Although few proletarian authors initially agreed with Kim’s approach, many proletarian novels, especially those serialized in newspapers such as After the Doll’s House, adopted key elements from melodrama. Accordingly, this article explores how modern melodrama in colonial Korea as imported from Japan and Europe was uniquely adapted and transformed to deliver Marxist messages through localized literary symbols and tropes, despite strict censorship under the Government-General of Korea and the commercial demands of the publication market. After the Doll’s House thereby evidences how melodramatic narrative in colonial Korean proletarian literature was an effective strategy for expressing radical ideas within the restrictions of colonial rule as well as for creating a hybrid literary form under oppressive social conditions.