By definition, the cold war was understood on both sides of the conflict to be a global struggle that stopped short of direct military engagement between the superpowers (the U.S. and the USSR). In Europe, the putative center ofthat struggle, the geopolitical battle lines were fixed after the early 1950s, or they at least could not be altered by normal military means without provoking World War III—which would result in mutual annihilation. Therefore, each side hoped to make gains over the other by using more subtle, political, and often clandestine methods, winning the “hearts and minds” of people in the other bloc (as well as maintaining potentially wayward support in one's own bloc), hoping to subvert the other side from within. The cold war was an enormous campaign of propaganda and psychological warfare on both sides. A vast range of cultural resources, from propaganda posters and radio broadcasts to sophisticated literary magazines, jazz bands, ballet troupes, and symphony orchestras, were weapons in what has recently come to be called the “Cultural Cold War” (Saunders 1999). Studies of the cultural cold war have proliferated since the late 1990s, most of which focus on U.S. cultural policy and are concerned with the European “theater” of this conflict (Hixson 1997; Fehrenbach and Poiger 2000; Poiger 2000; Berghahn 2001).

North Korean leader Kim Jong Il can be criticized for many failings, but if one of his goals has been keeping his country in the global media spotlight, he has been wildly successful. Of course, North Korea gets this international attention for all the wrong reasons: military provocations, a clandestine nuclear program, a bankrupt economy, an atrocious record on human rights, and an eccentric if not deranged leadership. Some of the accusations leveled against North Korea in the Western media and popular press may have a basis in fact, others are more questionable. But until recently, substantive knowledge of the Democratic People's Republic of Korea (DPRK) was notable mainly for its absence. Before the 1990s, little was written about the DPRK beyond official North Korean propaganda and its opposite, anti-North Korean propaganda from the South. Much of this has changed, both because of new sources of information (including material from North Korea's former communist allies), but more importantly because of the growing interest in the subject after South Korean democratization in the late 1980s and the first US-North Korean nuclear crisis of the early 1990s.

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