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cosmosbeelover · 25 days ago

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The Lost 30 Years - Seol Woon-do/ Jin Bo-ra/ Na Hoon-a, etc. (잃어버린 30년 - 설운도/ 진보라/ 나훈아 등) - Episode 11/35 (Pt. 4)

This document constitutes the fourth segment of the Korean album 'The Lost 30 Years,' featuring notable artists such as Seol Woon-do, Jin Bo-ra, and Na Hoon-a. It will examine the broadcast schedule over the 34 days of transmission, the technologies employed in broadcasting, and additional relevant topics. For a thorough understanding, readers are encouraged to consult part one, which outlines the album's context, the background of the broadcast, program planning, and content, along with parts two and three that provide an in-depth analysis of the broadcast itself. The live broadcast initiated on June 30, 1983, followed by an emergency broadcast relay from July 1 to July 10, 1983, and resumed regular programming from July 15, 1983, until November 14, 1983.

Broadcast List:

To ensure that these historical records are accessible to descendants and the global community, KBS digitized all episodes of Searching for Separated Families and began uploading them to YouTube on March 5, 2014. Subsequently, in October 2015, this initiative was recognized as a UNESCO Memory of the World.

Continuation from Part 3

Day 8, recorded on July 15, 1983, Friday, to July 16, Saturday, from 10:15 PM to 2:50 PM, was moderated by Yoo Cheol-jong (유철종) and Lee Ji-yeon (이지연).

Video Links - #1, #2, #3, #4, #5, #6, #7, #8, #9, #10, #11 #12, #13, #14, #15

Day 9, recorded on July 22, 1983, Friday, to July 23, Saturday, from 10:15 PM to 1:45 PM, with moderators Yoo Cheol-jong and Lee Ji-yeon.

Video Links - #1, #2, #3, #4, #5, #6, #7, #8, #9, #10, #11, #12, #13, #14

On the 10th day, specifically dated July 29, 1983, Friday, to July 30, Saturday, from 10:15 PM to 6:00 PM, the moderators included Yoo Cheol-jong, Lee Ji-yeon, Hwang In-yong (황인용), and Kang Bu-ja (강부자).

Video Links - #1, #2, #3, #4, #5, #6, #7, #8, #9, #10, #11, #12, #13, #14, #15

Day 11, recorded on August 5-6, 1983, from 10:15 PM to 6:00 PM, features moderators Yoo Cheol-jong, Lee Ji-yeon, Kim Dong-gun (김동건), and Shin Eun-kyung (신은경).

Video Links - #1, #2, #3, #4, #5, #6, #7, #8, #9 , #10, #11, #12, #13, #14, #15, #16

Day 12, recorded on August 12, 1983, spanned from 10:15 PM to 3:20 PM the next day, featuring moderators Yoo Cheol-jong, Lee Ji-yeon, Kim Dong-gun, and Shin Eun-kyung. This session was part of a special program commemorating Liberation Day.

Video Links - #1, #2, #3, #4, #5, #6, #7, #8, #9, #10,#11, #12, #13, #14, #15, #16

Day 13, recorded from 11:50 PM on Saturday, August 13, 1983, to 2:25 AM on Sunday, August 14, 1983, and resuming from 7:00 AM to 5:25 PM on the same day, was facilitated by Yoo Cheol-jong and Lee Ji-yeon as part of a special program commemorating Liberation Day.

Video Notes August 13 - #1, #2, #3 Video Notes August 14 - #4, #5, #6, #7, #8, #9, #10, #11, #12

On August 15, 1983, known as Liberation Day, the event's moderators, who facilitated the proceedings from 12:10 AM to 6:00 PM, were Kim Dong-gun, Shin Eun-kyung, Yoo Cheol-jong, and Lee Ji-yeon. The auxiliary activities were coordinated by Son Seok-gi (손석기) and Kim Mi-hoe (김미회) at the Public Hall as part of the special program for Liberation Day.

Video Links - #1, #2, #3, #4, #5, #6, #7, #8, #9, #10, #11, #12, #13, #14, #15, #16

Day 15, recorded on August 19-20, 1983, from 10:15 PM to 3:10 PM, featured moderators Yoo Cheol-jong, Lee Ji-yeon, Kim Dong-gun, and Shin Eun-kyung.

Video Links - #1, #2, #3, #4, #5, #6, #7, #8, #9, #10, #11, #12, #13, #14, #15

Day 16, recorded on August 26, 1983, from 10:15 PM to 3:00 AM, continuing into August 27, 1983, from 7:50 AM to 2:10 PM, featured moderators Yoo Cheol-jong and Lee Ji-yeon.

Video Links - #1, #2, #3, #4, #5, #6, #7, #8, #9, #10

Day 17, recorded on September 2, 1983, Friday, through September 3, Saturday, from 10:15 PM to 3:00 AM, continuing until 8:10 AM on September 3, Saturday, with the moderators being Yoo Cheol-jong and Lee Ji-yeon.

Video Links - #1, #2, #3, #4, #5, #6, #7, #8, #9, #10

Day 18, recorded on September 9, 1983. From 10:15 PM on Friday, September 9, to 3:00 AM on Saturday, September 10, and continuing from 8:00 AM to 4:30 PM on the same day, the moderators overseeing the proceedings were Yoo Cheol-jong and Lee Ji-yeon.

Video Links - #1, #2, #3, #4, #5, #6, #7, #8, #9, #10, #11, #12, #13

Day 19, recorded on September 16, 1983, spanned from 10:15 PM to 3:00 AM, and resumed on September 17, 1983, from 8:00 AM to 6:10 PM, with moderators Yoo Cheol-jong and Lee Ji-yeon overseeing the Chuseok special program.

Video Links - #1, #2, #3, #4, #5, #6, #7, #8, #9, #10, #11, #12, #13, #14

On September 17, 1983, the event commenced at 11:30 PM and extended until 3:20 AM, transitioning into September 18, 1983. The session reconvened from 8:50 AM to 5:40 PM, under the supervision of moderators Kim Dong-gun and Lee Kang-ja, as part of a Chuseok special program.

Video Links - #1, #2, #3, #4, #5, #6, #7, #8, #9, #10, #11, #12

On September 18, 1983, designated as Day 21, the scheduled activities commenced at 11:40 PM on Monday, September 19, and extended until 3:00 AM, resuming at 9:20 AM and concluding at 5:20 PM on the same day. The events were supervised by moderators Yoo Cheol-jong and Lee Ji-yeon, as part of a special Chuseok program.

Video Links - #1, #2, #3, #4, #5, #6, #7, #8, #9, #10, #11, #12, #13

Day 22, recorded on September 19, 1983, spanned from 10:15 PM to 4:10 AM, extending into September 20, 1983, from 9:20 AM to 5:30 PM, with Kim Dong-gun and Lee Kang-ja acting as moderators for a Chuseok special program.

Video Links - #1, #2, #3, #4, #5, #6, #7, #8, #9, #10, #11, #12, #13, #14

Day 23, recorded on September 23, 1983, through September 24, 1983, from 10:30 PM to 4:00 AM and continuing on September 24 from 8:00 AM to 6:10 PM, featured moderators Yoo Cheol-jong, Lee Ji-yeon, Kim Dong-gun, and Lee Kang-ja (이강자). The total broadcast duration surpassed 300 hours.

Video Links - #1, #2, #3, #4, #5, #6, #7, #8, #9, #10, #11, #12, #13, #14, #15, #16

Day 24, recorded on September 24, 1983, spans from Saturday night at 10:50 PM to Sunday morning at 3:30 AM, continuing until 8:10 AM on September 25, 1983, and concluding at 3:10 PM. The moderators overseeing this period were Kim Dong-gun, Lee Kang-ja, Yoo Cheol-jong, and Lee Ji-yeon.

Video Links - #1, #2, #3, #4, #5, #6, #7, #8, #9, #10, #11, #12

Day 25, recorded on September 29, 1983, Thursday, to September 30, Friday, from 10:15 PM to 10:00 AM, featured moderators Kim Dong-gun and Lee Kang-ja, highlighting the October Holiday Special Program.

Video Links - #1, #2, #3, #4, #5, #6, #7, #8, #9, #10

Day 26, recorded on October 1, 1983, from 10:15 PM to 3:00 AM, and continuing on the same day from 8:00 AM to 3:40 PM, the moderators for the October Holiday Special Program were Yoo Cheol-jong, Lee Ji-yeon, Kim Dong-gun, and Lee Kang-ja.

Video Links - #1, #2, #3, #4, #5, #6, #7, #8, #9, #10, #11, #12, #13

On Day 27, recorded on October 1, 1983, the activities spanned from Saturday night at 10:40 PM to Sunday morning at 3:35 AM, continuing into October 2, 1983, from 8:10 AM to 5:20 PM. The moderators for this October Holiday Special Program included Kim Dong-gun, Lee Kang-ja, Yoo Cheol-jong, and Lee Ji-yeon.

Video Links - #1, #2, #3, #4, #5, #6, #7, #8, #9, #10, #11, #12, #13, #14

Day 28, recorded on October 3, 1983, during the early hours from 12:05 AM to 3:20 AM, and again from 6:00 AM to 7:00 AM, followed by a session from 10:30 AM to 4:05 PM, the moderators Yoo Cheol-jong, Lee Ji-yeon, Kim Dong-gun, and Lee Kang-ja facilitated the October Holiday Special Program.

Video Links - #1, #2, #3, #4, #5, #6 (This recording did not record any audio), #7, #8, #9, #10

Day 29, recorded on October 3, 1983, from 11:15 PM to 3:00 AM, featured moderators Yoo Cheol-jong and Lee Ji-yeon for the October Holiday Special Program.

Video Links - #1, #2, #3, #4

On the 30th day, dated October 6, 1983, from 10:45 PM to 3:00 AM, and continuing on October 7, 1983, from 6:10 AM to 10:00 AM, the moderators were Yoo Cheol-jong and Lee Ji-yeon.

Video Links - #1, #2, #3, #4, #5, #6, #7, #8

Day 31, recorded on October 7, 1983, from 11:20 PM to 4:00 AM, and continuing on October 8, 1983, from 1:00 PM to 5:50 PM, the moderators overseeing the sessions were Kim Dong-gun, Lee Kang-ja, Yoo Cheol-jong, and Lee Ji-yeon.

Video Links - #1, #2, #3, #4, #5, #6, #7, #8, #9, #10

On Day 32, documented on October 8, 1983, the event was moderated by Kim Dong-gun, Lee Kang-ja, Yoo Cheol-jong, and Lee Ji-yeon. The sessions commenced at 10:40 PM on October 8 and concluded at 3:00 AM on October 9, with a subsequent session running from 10:30 AM to 4:50 PM on the same day. The audio (Video 10) features a special news report regarding the bombing at Aung San Mausoleum, along with recordings of the public hall where the audience was gathered at that time.

Video Links - #1, #2, #3, #4, #5, #6, #7, #8, #9, #10

On Day 33, spanning from October 14 to October 15, 1983, the moderators overseeing the event were Yoo Cheol-jong, Lee Ji-yeon, Kim Dong-gun, and Lee Kang-ja. The activities took place from 11:15 PM to 4:00 AM, and continued the following day from 8:10 AM to 4:50 PM.

Video Links - #1, #2, #3, #4, #5, #6, #7, #8, #9, #10, #11, #12

On Day 34, spanning from October 21, 1983, at 10:15 PM to October 22, 1983, at 1:00 PM, the final day of the broadcast occurred.

Video Links -#1, #2, #3, #4, #5, #6, #7, #8

Broadcasting Technology

In the past, broadcasting technology in Korea relied heavily on imported equipment from countries like Japan, which, by contemporary standards, was quite rudimentary. Unlike today's capabilities for simultaneous broadcasting across multiple platforms, the KBS Seoul Yeouido headquarters could only mix audio with regional stations, lacking the ability to display video. This limitation was starkly contrasted by the United States, which, during news broadcasts, could connect three locations simultaneously and present them on screen. In Korea, the visual output was limited to a single screen that could only partially display the transmitted content, often resembling an erasure effect when transitioning between scenes.

As technology progressed, Korea managed to achieve a rudimentary form of dual broadcasting by overlaying images from different regional stations. This was accomplished using electrical analogy equipment, a significant departure from the digital methods employed today, such as chroma keying or green screen technology. The distinction between electrical and electronic systems lies in the method of image display; current digital systems utilize computer RAM to manage image data, while earlier systems relied on physical overlays of electrical signals. By 1983, the US had already integrated computers into their broadcasting equipment, highlighting a technological gap that Korea was striving to bridge.

Seoul KBS operates a studio in Yeouido, housed within its main building, which was completed in 1976, making it relatively new at that time. The annex, the former TBC building, was finished in 1980. Despite featuring modern facilities, it fell short of the operational expertise found in the United States and Japan. The broadcast subtitles, referred to as 'Supa,' derived from the term 'superimpose,' reflect a mispronunciation of the Japanese word for super (スーパーインポーズ). Unlike contemporary methods that allow for quick text entry via a keyboard, the subtitle creation process involved calligraphy or typesetting, necessitating scanning for display. Consequently, during the initial three days of broadcasting, regional station identifiers were inconsistently shown, and discrepancies in font and subtitle positioning arose between Seoul and the regional stations. In 1981, the introduction of the CG-800 computer character generator from Japan's Kowa marked a technological advancement, although its application was restricted to news programming.

The early broadcast footage reveals a stark contrast in image quality between the Seoul broadcast and local stations. The equipment utilized in Seoul was on par with that of Japan, having been upgraded in anticipation of the Seoul Olympics. In contrast, local broadcasting stations were limited to only two or three cameras and inadequate lighting, resulting in poor white balance and depth. In metropolitan areas like Daejeon, audio issues were prevalent, with significant howling during connections, necessitating the use of earphones by local guests. Furthermore, while KBS headquarters began broadcasting dynamic images and animations on its channels as early as 1984, regional stations lagged behind, primarily showing still images until the early 1990s.

During this period, the integration of SNG technology enabled live broadcasts not only from the Seoul KBS headquarters but also from various regional stations. Although the broadcasting technology of the time was rudimentary compared to contemporary standards, significant advancements were made through the tumultuous live broadcasts of major events, including the 1986 Seoul Asian Games and the 1988 Seoul Olympics. These developments marked a pivotal moment in the evolution of Korean broadcasting technology.

Other matters than Broadcasting:

Additional concerns beyond broadcasting involve events occurring outside the broadcasting station, including the incorporation of songs and responses from international audiences.

Yeouido Meeting Square

On the inaugural day of the live broadcast, both the area in front of the KBS main building and Yeouido Plaza, along with the entirety of Yeouido Park, underwent a transformation into an asphalt plaza.

On July 1, families separated by circumstances began an overnight vigil at the KBS Central Hall, driven by the cessation of application acceptance due to an overwhelming influx. In this context, Kwak Man-young (곽만영), a key figure in the narrative of sibling reunification, became the first to display posters on the walls and pillars of the KBS main building, marking the beginning of a grassroots movement for family reconnection.

Within a few days, the posters proliferated throughout the main building, reaching even the highest pillars. The once-visible windows and vents of the KBS structure became obscured by the sheer volume of messages. The initiative soon expanded beyond the building, spilling into Yeouido Plaza, where some individuals experienced fortunate reunions after their posters were displayed. However, the majority faced the grim reality of searching for their loved ones, often resorting to unconventional methods to ensure their messages stood out amidst the deluge of posters.

youtube

The desperation of those seeking their families led to the transformation of the area surrounding KBS into a makeshift tent village, with many individuals foregoing basic necessities like food and water. Notably, even Seol Woon-do (설운도), a guest performer, was moved by the plight of the families and chose to sleep alongside them, sharing in their struggle. This collective effort highlighted the profound human desire for connection and the lengths to which individuals would go to reunite with their loved ones.

This photo was later attached to the 2nd semester 5th grade social studies textbook of the Ministry of Education.

On July 9, the initiative to reunite separated families escalated into a national movement, prompting the establishment of a 'Meeting Square' at the site of the Korea Industrial Bank, which officially opened on August 5. This space featured amenities such as a water fountain, medical facilities, and a mobile public telephone, with support from the Telecommunications Corporation, the Ministry of Post and Telecommunications, and the Railway Administration Branch Office. According to Son Gil-shin (손길신), the director of the Railway Museum at that time, once families were identified, they received travel tickets and accommodations in designated areas, including the five northern provinces, unrecovered regions of Gyeonggi-do and Gangwon-do, as well as Sakhalin, China, Japan, and other countries with significant Korean populations.

The Meeting Square was organized to facilitate the identification of separated families, with sections and tents set up for this purpose. Non-commercial items were made available at the plaza, as well as at KBS regional stations and municipal offices. Additionally, legal professionals, including lawyers and administrative scribes, volunteered their services to provide guidance on post-reunion legal matters, such as name changes, inheritance issues, and family registration processes. KBS managed the Meeting Square for a full year, continuing its support for separated families until the following summer, after the broadcast concluded in November.

Individuals present at the Meeting Square, including broadcaster Lee Sang-byeok (이상벽) and photographer Jo In-hwan (조인환), later reflected on the atmosphere of the space. They noted that amidst the numerous pieces of paper affixed to the walls and floors, no one added their own notes to those already posted by others. This behaviour highlighted a profound sense of consideration among attendees, who, despite their urgent desire to reunite with their families, respected the shared experience of others in similar circumstances.

Insert Song

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These two songs serve as exemplars, and the video above has been uploaded directly from the KBS account.

The initial broadcast featured a segment where performers emerged to establish a musical ambiance. On that first day, Hyun In (현인) and Kim Yeon Ja (김연자) delivered a poignant song, while the announcers briefly paused to receive guidance from the production director, serving as a transitional element. However, the production team quickly recognized that such direction was unnecessary, as the audience, comprised largely of separated families, began to weep uncontrollably during the storytelling segments. As the second day unfolded, the public hall became chaotic with the presence of separated families, production staff, and journalists, leading Kim Yeon Ja to perform only one song after enduring a 16-hour wait. Subsequently, background music was played, and camera operators focused on the audience's signs, with the singers returning to perform once the program resumed its regular schedule. From that point onward, Seol Woon Do (설운도) became a frequent presence in the public hall.

The original title, "Who Doesn't Know This Person?", was relatively obscure prior to its broadcast. This song, performed by Kwak Soon-ok (곽순옥), served as the theme for the 1964 radio drama "South and North," written by Han Woon-sa (한운사). When the broadcast was scheduled in 1983, Kwak Soon-ok, residing in Hong Kong at the time, was unable to perform the title track, leading to Patty Kim, a close associate, taking her place. As the program aimed at reuniting separated families progressed, Kwak Soon-ok made a special appearance to perform the song, credited under her original title, "South and North." The drama was later adapted into a film featuring Shin Young-kyun (신영균) and Um Aing-ran (엄앵란), with a subsequent remake starring Shin Il-ryong (신일룡) and Won Mi-kyung (원미경). In the early 1990s, MBC produced another version with Park Sang-won (박상원), Lee Mi-sook (이미숙), and Gil Yong-woo (길용우), during which the song's title replaced the original "South and North." Surprisingly, two decades later, in the 2000s, it began to be utilized as a sound effect in response to unfortunate events on variety shows. A similar instance is the song "You," performed by Kim Jeong-ho (김정호) shortly before his passing; this poignant track, imbued with feelings of resentment, has also found frequent use in entertainment programming since the early 21st century.

Who doesn't know this person? With a gentle body, shining eyes, and a kind heart like the moon, Who doesn't know this woman who swore with me by the riverside that she would go to the ends of the earth ? Who doesn't know this person? With soft passion and brightness, once you give your heart, it won't change. Who doesn't know this woman who swore in my arms that she would follow my dreams and follow me ? --- 누가 이 사람을 모르시나요 얌전한 몸매에 빛나�� 눈 고운 마음씨는 달덩이같이 이 세상 끝까지 가겠노라고 나 하고 강가에서 맹세를 하던 이 여인을 누가 모르시나요 누가 이 사람을 모르시나요 부드러운 정열에 화사한 이 한 번 마음주면 변함이 없어 꿈 따라 임 따라 가겠노라고 내 품에 안기어서 맹세를 하던 이 여인을 누가 모르시나요 --- English & Korean Lyrics of 'Who doesn't know this person'

Following the standard airing, the title would be altered to Seol Woon-do's 'The Lost 30 Years.'

Rain or shine, wind or shine For thirty years of missing each other How much did I cry, feeling sad for this body that had nowhere to rely on? My brothers and I, may we meet again and share the love we couldn't share, Where are you, Mother and Father? I sing with a choked voice. Will it be tomorrow or the day after? Thirty years of waiting, filled with tears How much did I cry, feeling sad for losing my hometown? My brothers and I, may we meet again and share the love we couldn't share, Where are you, Mother and Father? I sing with a choked voice -Full --- 비가오나 눈이오나 바람이 부나 그리웠던 삼십년 세월 의지할 곳 없는 이 몸 서러워하며 그 얼마나 울었던가요 우리 형제 이제라도 다시 만나서 못다한 정 나누는데 어머님 아버님 그 어디에 계십니까 목메이게 불러 봅니다 내일일까 모레일까 기다린 것이 눈물 맺힌 삼십년 세월 고향 잃은 이 신세를 서러워하며 그 얼마나 울었던가요 우리 남매 이제라도 다시 만나서 못다한 정 나누는데 어머님 아버님 그 어디에 계십니까 목메이게 불러 봅니다 --- English and Korean lyrics of 'Lost 30 Year'.

Seol Woon-do, at the age of 26, made his debut in 1981 through KBS's "Birth of a New Artist" program, yet remained largely unrecognized for nearly two years. His breakthrough came when his agency, after viewing the program, recognized his potential and swiftly recorded a revised version of his song "To My Father," which was released in 1982. The following day, the song gained immense popularity, leading to an emotional family gathering as they witnessed his success. The agency explained that Seol Woon-do was the only artist available for the broadcast at that time. In the program's early days, his manager had to hold the lyrics for him, as he struggled to memorize them. Seol Woon-do recounted waiting all day with the announcers, and when the producer finally called for him, he performed on stage, singing "The Lost 30 Years" repeatedly. He described being so immersed in the emotional atmosphere that he lost track of his performance, often feeling as if he were possessed by the moment, with the song resonating deeply even in his everyday life.

Numerous songs capitalized on prevailing trends during this period, including one titled "Separated Family." The artist Jeon Mi-kyung (전미경), who performed this piece, also sang "Jang Nok-su," (장녹수) which was featured in the drama of the same name twelve years later. Additionally, various songs, including children's songs like "Our Wish," "Longing for Geumgangsan," and "Taogi," were incorporated into the media. Notably, Jo Young-nam (조영남), a displaced individual from Pyeongsan-gun in Hwanghae-do, performed "Our Wish," which served as the closing theme for a program airing at the time the government initiated a nationwide campaign to locate separated families.

Our wish is unification Even in our dreams, our wish is unification We dedicate our lives to unification , unification, come. Unification that will save this people, to find my country, unification, unification, come quickly , unification , come. Our wish is unification Even in our dreams, our wish is unification We dedicate our lives to unification, unification, come. The way to find my country, unification , unification, to save this people, unification, come quickly, unification, come. --- 우리의 소원은 통일 꿈에도 소원은 통일 이 정성 바쳐서 통일 통일이여 오라. 이 겨레 살리는 통일 내 나라 찾는데 통일 통일이여 어서 오라 통일이여 오라. 우리의 소원은 통일 꿈에도 소원은 통일 이 목숨 바쳐서 통일 통일이여 오라 내 나라 찾는길 통일 이겨레 살리는 통일 통일이여 어서 오라 통일이여 오라. --- Full text of the lyrics both in English and Korean of 'Our Wish' sung by Jo Young-nam. The lyrics in bold are different from the original.

KBS subsequently published a compilation of insert songs performed by multiple artists, featuring tracks such as "Lost 30 Years" and "Who Doesn’t Know This Person?" The album is titled "Lost 30 Years." Seol Woon-do has mentioned that he still possesses this album in his home.

These documents pertain to the live broadcast that occurred during that period. Additionally, these commemorative records have been designated as UNESCO World Heritage.

Overseas Reactions

"The national significance of the Family Reunification Program is reflected by its impact on the Korean people. The television program was the first use of mass media to facilitate postwar reunification and had the widest public participation of any Korean broadcast. (Omitted) Nevertheless, the Family Reunification Program had great global significance in revealing lesser-known consequences of the Cold War and the Korean War. In an era when widespread access to television was just beginning, the Family Reunification Program provided one of the first vivid accounts of the consequences of war on civilians." - English Wikipedia

In 1983, UN Secretary-General Javier Pérez de Cuéllar conveyed profound sympathy and comprehension regarding the plight of separated families during a discussion with South Korean Ambassador to the UN, Kim Kyung-won (김경원). Additionally, a group of 17 representatives from seven nations, alongside a delegation from the International Federation for Human Rights, visited the site during the 70th Inter-Parliamentary Union (IPU) General Assembly in Seoul. Meanwhile, journalists from 25 countries occupied the press room established in the KBS main building, providing real-time coverage of the reunions to a global audience. The broadcast elicited an enthusiastic response, and its historical importance during the Cold War was underscored by extensive coverage from major media outlets in the United States and Japan. The accompanying video, submitted to UNESCO, features AP's teletype transmission, a report from ABC on July 3, and coverage from TBS TV in Japan, including a segment of then US President Ronald Reagan's speech advocating for North Korea's involvement in the program.

This broadcast was recognized as the 'Most Humanitarian Program of 1983' during the 6th World Conference of Journalists, which took place in Cartagena, Colombia, from September 6 to 9, 1983. Additionally, it received the 'Gold Mercury Ad Horneram Award' at the 24th Gold Mercury World Peace and Cooperation Conference in Gabon on February 17, 1984, marking a significant achievement for the broadcasting organization. Furthermore, it was incorporated as a textbook in broadcasting studies at the University of Greenwich in England.

The program played a crucial role in highlighting the plight of families separated by the division of North and South Korea, elevating the issue to an international platform. In 1983, Yoo Chang-soon (유창순), then President of the Korean Red Cross, called for the resumption of inter-Korean talks, emphasizing the urgency of addressing the separated families' situation. Both President Chun Doo-hwan (전두환) and U.S. President Ronald Reagan expressed their support for family reunification. These collective efforts culminated in 1985, when a North Korean delegation visited KBS, facilitating the first reunion of separated families between the two Koreas.

Idea provider, President Lee Won-hong

Ahn Guk-jeong (안국정), the architect behind the program, revealed in the September 15, 1999 edition of the Chosun Ilbo's serialized project 'Adieu... 20th Century' - 'Live Broadcast to Find Separated Families', that the initiative was inspired by Lee Won-hong (이원홍), the then-president. In his account, President Lee commended Ahn for his successful live broadcast 'Nakdonggang 1300-ri', which highlighted the reunions of survivors from the Battle of Nakdonggang, and subsequently suggested the concept of reuniting separated families from both South and North Korea.

While the original vision may have aimed at facilitating reunions across the Korean divide, practical considerations necessitated a focus on reunions within South Korea due to the complexities involved in negotiating with North Korea. The program ultimately emerged from an unforeseen proposition: "What if we could connect through television in this manner?" This shift in focus reflects the challenges of addressing the sensitive issue of family separations in the context of inter-Korean relations.

Psychological warfare against NK

The report by 'Tongil News' regarding the contents of declassified diplomatic documents suggests that the initiative to broadcast programs aimed at reuniting separated families was initially conceived as a tool for psychological warfare. However, an analysis of the broadcast content indicates that the relevant document was likely drafted after the commencement of the broadcasts. The Ministry of Foreign Affairs issued a directive in 1983, which was later declassified in 2014, instructing diplomatic missions to leverage this program for psychological operations against North Korea and for security education purposes, yet it did not mandate the creation of the broadcast itself. KBS and the government, responsible for the live broadcast, framed their efforts as a humanitarian endeavor.

In summary, a review of both the disclosed documents and the broadcast content implies that the initiative was not meticulously designed for psychological warfare. Instead, it appears that, following its success and popularity, a directive was issued to utilize the broadcast for propaganda and psychological influence. Thus, while the original intent may not have been to employ the broadcast as a weapon of psychological warfare, it became a tool for such purposes after its launch, with notable figures, including Chun Doo-hwan (전두환), later participating in the initiative.

Some contend that the government orchestrated the broadcasts as a form of psychological warfare against the North, citing inaccuracies in the live broadcast dates. However, this assertion is misguided. Initially, the broadcasts did not anticipate an extension beyond the first three days. The comprehensive live coverage persisted until July 4, with the production and airing of the program commencing on that date. Notably, there were variations in the structure of the opening, commentary, and the first hour of the broadcast, as well as coordination with local broadcasters. The transition to regular broadcasting occurred on July 5.

The elements that could be interpreted as propaganda or psychological warfare in the commentary began to surface on the third day, specifically during the segment hosted by announcer Kim Dong-geon (김동건). In contrast, the broadcasts on the first two days did not include such content. On the second day, a political reporter provided a brief overview of the historical division between the South and North, but the report became increasingly ambiguous as the reunion scenes unfolded. Furthermore, on the inaugural day, there was no indication of when the broadcast would take place, suggesting a lack of planning for an all-day live event, as evidenced by comments indicating surprise at the duration of the broadcast.

On July 10, the State Council officially passed a resolution to initiate a nationwide movement, akin to the Saemaul Movement, spearheaded by the Korean Red Cross. This external impetus yielded significant outcomes, as evidenced by the North Korean Red Cross's delivery of relief supplies and rice to the South during the catastrophic Han River flood in 1984. Additionally, in 1985, the first reunions of separated families and exchanges of art troupes between the two Koreas were facilitated through the Red Cross. Notably, announcer Kim Dong-gun served as the main MC during this period.

KBS special live broadcast 'Finding Separated Families' records

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This documentation highlights the somber realities of the Cold War and the associated atrocities experienced in South Korea. The poignant moments of family members reuniting, embracing, and weeping not only alleviated the anguish of those separated but also acted as a significant impetus for the inaugural reunion of divided families between the South and North in September 1985. This event played a crucial role in reducing hostilities on the Korean Peninsula and conveyed a universal message advocating for peace, emphasizing the need to prevent such tragedies from recurring. Furthermore, this record stands as a significant achievement in the realm of global broadcasting history. It represents the largest television initiative aimed at reuniting separated families, with 100,952 applications submitted. Of these, 53,536 cases were featured on air, resulting in the reunion of 10,189 families. The program was supported by a dedicated team of 1,641 broadcast professionals and was aired over a span of 138 days. - UNESCO Korean National Commission

In March 2014, KBS submitted an application to the Cultural Heritage Administration to have the records of the “Finding Separated Families” program recognized as a World Memory Heritage. In collaboration with the government, KBS aimed to promote the registration of all associated records under this designation. By January 2015, the UNESCO International Advisory Committee for the Memory of the World recommended the registration, which was subsequently reviewed by a subcommittee in Abu Dhabi, UAE, from September 28 to 30, 2015.

On October 9, 2015, UNESCO officially designated the recordings from the “Finding Separated Families” program as a World Memory Heritage, alongside Korean Confucian textbooks. This achievement made KBS the second television broadcaster globally, after Germany's Berlin Brandenburg Broadcasting Company, to receive such recognition for documentary heritage. The designation encompasses not only 463 original recording tapes but also various materials such as production notebooks, applications from separated families, broadcast schedules, cue sheets, commemorative albums, and photographs, totalling 25,222 items. These documents serve as primary sources that substantiate historical facts and have been preserved in the KBS archives since their creation, while most records from central and local governments are housed in the National Archives.

Collection of records

Consequently, the Republic of Korea's total count of World Documentary Heritage items has risen to 13, and as of 2023, this number has further increased to 18, positioning the nation as the fourth highest globally. KBS prominently featured this achievement as the leading headline on News Square the following morning. The broadcast was lauded for its record-setting continuous live coverage of 453 hours and 45 minutes, which not only highlighted the anguish of war but also encouraged participation from diverse segments of society. This unique record encapsulates the tragic Cold War experiences in Korea and the suffering of families separated by division, earning its registration based on the critical criteria of authenticity, originality, and global significance, while conveying a universal message of peace against the backdrop of the Korean War.

In this instance, the registration encompassed not only the broadcast but also various documents and testimonies. This marks the second occasion where a broadcast has been the primary focus of such recognition, following the listing of the film Metropolis in 2001, which was produced in 1927. Professor Seo Kyung-ho (서경호) from Seoul National University, a former international advisory member of the Memory of the World Committee, remarked that this is indeed the first instance of a television broadcast program being included. He noted that most records associated with the Berlin Wall consist of documents and testimonies, with only a few broadcasts being recognized.

Professor Seo emphasized that the KBS program aimed at reuniting separated families is fundamentally a broadcast at its essence. He suggested that this recognition could pave the way for more broadcast programs to be considered for inclusion in the Memory of the World list in the future, thereby expanding the scope of what constitutes significant documentary heritage. This development underscores the evolving nature of heritage recognition, highlighting the importance of audio-visual media in documenting historical narratives.

The archive consists of 463 digital Betacam tapes that capture the broadcast. These recordings span from 10:15 PM on June 30, 1983, to 4 AM on November 14, extending into the early hours.

Meaning of the special broadcast

The KBS special live broadcast titled 'Searching for Separated Families' holds the distinction of being the longest continuous broadcast by KBS, spanning 138 days from June 30, 1983, to November 14, 1983. This documentary serves as a poignant reminder of the imperative to prevent future wars. It marked a significant moment in the use of mass media for promoting unification efforts post-war, engaging the public in a manner unprecedented in Korean broadcasting history. The program illuminated the consequences of the Cold War and the Korean War, bringing to light the previously obscured realities of these conflicts and their impact on South Korea.

The emotional reunions depicted in the broadcast, where family members embraced and wept, played a crucial role in alleviating the suffering of those separated by war. This heartfelt portrayal not only provided solace to affected families but also acted as a catalyst for the first official reunions between separated families from the North and South in September 1985. Ultimately, the broadcast conveyed a powerful message of peace, underscoring the necessity of preventing such tragedies from recurring in the future.

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There are issues with adding the video links; however, the entire page containing this information includes all the links. I will maintain a count of the videos to indicate how many are available for each day.

#history #korean history #korea #korean music history #south korea #photography #music history #Youtube #80s #80s music #KBS #The Lost 30 Years - Seol Woon-do/ Jin Bo-ra/ Na Hoon-a ect.#잃어버린 30년 - 설운도/ 진보라/ 나훈아 등 #The Lost 30 Years #잃어버린 30년

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wlswkrkskxksktek17ghl · 2 years ago

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진짜가 나타났다 17회 18회 다시 보기 17화 18화 KB

◉ 시청 및 다운로드 스트리밍 보기 ▼▼

진짜가 나타났다 17회 18회 다시 보기 17화 18화 KB ←←링크

진짜가 나타났다 17회 18회 다시 보기 17화 18화 KB

진짜가 나타났다!’ 백진희와 안재현에게 또 다른 위기가 찾아왔다.

14일 방송된 KBS2 주말드라마 ‘진짜가 나타났다!’(연출 한준서, 극본 조정주) 16회가 20.0%(닐슨코리아 전국 기준)를 기록, 일요일에 방송된 모든 프로그램 중 1위를 차지하며 주말극 최강자의 저력을 발휘했다. 강대상(류진 분)이 오연두(백진희 분)와 공태경(안재현 분)의 대화를 우연히 엿듣게 되면서 가짜 부부 행세가 발각될 위기에 처하는 순탄치 않은 전개로 극의 긴장감을 드높이기도.진짜가 나타났다 17회 18회 다시 보기 17화 18화 KB

강봉님(김혜옥 분)은 은금실(강부자 분)이 글을 읽지 못한다는 사실을 알게 되었고 두 사람 사이 의도치 않게 비밀이 생기며 흥미진진한 전개가 이어졌다. 이어 금실은 자신의 흠을 유일하게 알게 된 봉님에게 돈을 제안하는 등 함구를 요구했고 봉님은 이런 금실이 묘하게 계속 신경 쓰이며 심란해했다.진짜가 나타났다 17회 18회 다시 보기 17화 18화 KB

금실은 자신이 글을 읽지 못하는 ‘까막눈’이라는 사실이 밝혀질까 두려워했다. 연두와 태경이 주말 동안 연두의 집에서 지낸다고 하자 조바심이 든 금실은 한밤중 연두의 집에 방문해 모두를 깜짝 놀라게 했다. 연두와 태경은 자신들에게 좋게 말해주는 등 처음 보는 금실의 행동에 당혹감을 감추지 못했다.진짜가 나타났다 17회 18회 다시 보기 17화 18화 KB

금실의 불안한 마음을 눈치챈 봉님은 그녀를 따로 방으로 불러냈다. 이어 봉님은 “제가 시키는 대로 하실 거예요?”라며 금실에게 제안했고, “우리 연두랑 공 서방, 괴롭히지 마세요”라고 말했다. 여기에 “하나 더 있어요”라고 말을 덧붙여 궁금증을 유발했다.진짜가 나타났다 17회 18회 다시 보기 17화 18화 KB

그런가 하면 연두는 봉님에게 올드스쿨에서 일하고 싶다고 말했다. 하지만 지금까지 일만 보고 달려온 연두에게 미안한 감정이 있었던 봉님은 이를 반대했고 두 사람의 진심 어린 대화는 뭉클함을 자아냈다.진짜가 나타났다 17회 18회 다시 보기 17화 18화 KB

연두는 사람들이 태경이 ‘진짜’ 아빠라고 알고 있는 상황에서 미혼모가 될 자신의 앞날에 대해 고민이 많아졌다. ‘진짜’ 아빠가 없다는 사실에 괴로운 연두는 답답한 마음에 잠깐 집을 나섰고 자신을 찾아온 태경에게 “다들 나한테 공태경 씨가 있어서 다행이래요. 3개월 뒤에는 나 혼자 있어야 되는데 나 너무 무서워요”라며 자신도 모르게 그에게 의지하고 있는 솔직한 마음을 드러냈다.진짜가 나타났다 17회 18회 다시 보기 17화 18화 KB

뿐만 아니라 연두의 조카 오수겸(정서연 분)은 엄마가 없다는 사실로 친구들에게 놀림을 받았다. 이를 발견한 연두는 수겸의 앞을 막아서며 그녀를 지켜줬고, 수겸은 연두에게 아빠 오동욱(최윤제 분)에게 비밀로 해달라며 “‘진짜’는 다행이다. 진짜는 엄마 아빠 다 있으니까 나 같이 놀림 안 받잖아”라고 말해 연두의 마음을 먹먹하게 만들었다.진짜가 나타났다 17회 18회 다시 보기 17화 18화 KB

대상은 앞서 한 중년 여성이 “애한테 잘해”라고 건넨 갑작스러운 한마디에 어딘가 숨겨져 있는 자신의 아이가 있는 것은 아닌지 찜찜하고 불안해했다. 그러던 중 개업한 식당 알바생으로 지원한 옛 연인 선우희(정소영 분)를 만나게 되었고 새로운 인물의 등장에 또 다른 사건을 암시했다.진짜가 나타났다 17회 18회 다시 보기 17화 18화 KB

방송 말미에는 대상이 연두와 태경의 말을 우연히 듣게 되면서 긴장감을 선사했다. 태경이 진짜 아기 아빠가 아니라는 연두와 태경의 대화를 들은 대상은 이들에게 “애 아빠가 아니라니?”라고 물으며 충격에 빠졌다. 두 사람이 이 위기를 어떻게 극복해 낼지 궁금증을 자아냈다.진짜가 나타났다 17회 18회 다시 보기 17화 18화 KB

‘진짜가 나타났다!’는 매주 토, 일요일 오후 8시 5분에 방송된다.

UFC가 일명 '상남자(BMF·Baddest Mother F**ker)' 타이틀을 부활시켰다.

데이나 화이트 대표는 더스틴 포이리에(34, 미국)와 저스틴 개이치(34, 미국)가 오는 7월 30일(이하 한국시간) UFC 291 메인이벤트에서 새로운 BMF 타이틀을 놓고 맞붙는다고 17일 공식 발표했다.진짜가 나타났다 17회 18회 다시 보기 17화 18화 KB

BMF는 정식 타이틀은 아니다. 가장 터프하게 싸우는 파이터를 가리기 위해 UFC가 만든, 흥미성 타이틀이다.

첫 BMF 타이틀전은 2019년 11월 UFC 244에서 펼쳐졌다. 호르헤 마스비달이 네이트 디아즈를 TKO로 이겨 BMF 챔피언 벨트를 허리에 감았다. 이번이 두 번째 BMF 타이틀전.

포이리에와 개이치 모두 뒷걸음질 치지 않고 정면 승부하는 타격가들이다. BMF 타이틀에 딱 맞는 '상남자'들이다.진짜가 나타났다 17회 18회 다시 보기 17화 18화 KB

두 파이터는 이미 2018년 4월 1차전에서 명승부를 합작한 바 있다. 일진일퇴의 타격전으로 팬들의 가슴을 울렸다.

포이리에가 4라운드 TKO승을 거둬 상대 전적 1승으로 앞서 있다. 개이치에게는 지난 패배를 설욕할 수 있는 기회다.

화이트 대표는 미국 솔트레이크시티에서 열리는 UFC 291의 화려한 라인업을 전부 공개했다.진짜가 나타났다 17회 18회 다시 보기 17화 18화 KB

전 미들급 챔피언 알렉스 페레이라가 라이트헤비급으로 ��라와 전 챔피언 얀 블라호비치와 맞붙는다.

파울로 코스타는 지난 7일 UFC 288에서 필 호스를 1라운드 KO로 눕히고 옥타곤 데뷔전을 승리로 장식한 이크람 알리스케로프를 맞이한다.

최근 음주운전 교통사고로 물의를 일으킨 토니 퍼거슨은 바비 그린과 싸운다.진짜가 나타났다 17회 18회 다시 보기 17화 18화 KB

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♢♢♢ 미디어 스트리밍 ♢♢♢

스트리밍 미디어는 공급자가 전달하는 동안 최종 사용자가 지속적으로 수신하고 제공하는 멀티미디어입니다. 스트리밍 동사는 이러한 방식으로 미디어를 전달하거나 획득하는 과정을 나타냅니다. [설명 필요] 스트리밍은 매체 자체가 아니라 매체의 전달 방법을 나타냅니다. 대부분의 전달 시스템이 본질적으로 스트리밍(예: 라디오, 텔레비전, 스트리밍 앱)하거나 본질적으로 비스트리밍(예: 책, 비디오 카세트, 오디오 CD)이기 때문에 배포된 미디어와 전달 방법을 구별하는 것은 특히 통신 네트워크에 적용됩니다. 인터넷에서 콘텐츠를 스트리밍하는 데는 문제가 있습니다. 예를 들어, 인터넷 연결에 충분한 대역폭이 없는 사용자는 콘텐츠의 중지, 지연 또는 느린 버퍼링을 경험할 수 있습니다. 또한 호환되는 하드웨어 또는 소프트웨어 시스템이 없는 사용자는 특정 콘텐츠를 스트리밍하지 못할 수 있습니다. 라이브 스트리밍은 라이브 텔레비전이 텔레비전 신호를 통해 전파를 통해 콘텐츠를 방송하는 것과 마찬가지로 인터넷 콘텐츠를 실시간으로 전달하는 것입니다. 라이브 인터넷 스트리밍은 소스 미디어 형태(예: 비디오 카메라, 오디오 인터페이스, 화면 캡처 소프트웨어), 콘텐츠를 디지털화하기 위한 인코더, 미디어 게시자, 콘텐츠를 배포 및 전달하기 위한 콘텐츠 전달 네트워크가 필요합니다. 라이브 스트리밍은 종종 발생하지만 원래 지점에서 녹화할 필요는 없습니다. 스트리밍은 최종 사용자가 콘텐츠를 보거나 듣기 전에 콘텐츠에 대한 전체 파일을 얻는 프로세스인 파일 다운로드의 대안입니다. 스트리밍을 통해 최종 사용자는 전체 파일이 전송되기 전에 미디어 플레이어를 사용하여 디지털 비디오 또는 디지털 오디오 콘텐츠 재생을 시작할 수 있습니다. “스트리밍 미디어"라는 용어는 라이브 자막, 티커 테이프 및 실시간 텍스트와 같이 비디오 및 오디오 이외의 미디어에 적용될 수 있으며 모두 "스트리밍 텍스트"로 간주됩니다.Streaming media is multimedia that is continuously received and presented by the end user while being delivered by the provider. Streaming verbs refer to the process of delivering or acquiring media in this way. [clarification needed] Streaming refers to the delivery method of a medium, not the medium itself. Distinguishing distributed media and delivery methods is particularly relevant to communications networks, as most delivery systems are either streaming in nature (e.g. radio, television, streaming apps) or non-streaming in nature (e.g. books, video cassettes, audio CDs). Applies. There are problems with streaming content from the internet. For example, users who do not have enough bandwidth on their internet connection may experience freezing, lag or slow buffering of content. Additionally, users without compatible hardware or software systems may not be able to stream certain content. Live streaming is the delivery of Internet content in real time, similar to live television broadcasting content over radio waves via a television signal. Live internet streaming requires a form of source media (e.g. video camera, audio interface, screen capture software), an encoder to digitize the content, a media publisher, and a content delivery network to distribute and deliver the content. Live streaming happens often, but it is not necessary to record from the original point. Streaming is an alternative to file downloading, the process of obtaining a full file of content before an end user can view or listen to it. Streaming allows end users to start playing digital video or digital audio content using a media player before the entire file is transferred. The term “streaming media” may apply to media other than video and audio, such as live subtitles, ticker tape, and real-time text, all of which are considered “streaming text.”

♢♢♢ COPYRIGHT ♢♢♢

저작권은 일반적으로 제한된 시간 동안 창작물을 복제할 수 있는 독점적 권리를 소유자에게 부여하는 일종의 지적 재산입니다. 창작물은 문학, 예술, 교육 또는 음악 형식일 수 있습니다. 저작권은 창의적인 작업의 형태로 아이디어의 원래 표현을 보호하기 위한 것이지 아이디어 자체를 보호하는 것은 아닙니다. 저작권은 미국의 공정 사용 원칙과 같은 공익 고려 사항에 따라 제한됩니다. 일부 관할 구역에서는 유형의 형식으로 저작물을 "고정"해야 합니다. 이는 종종 여러 저작자들 사이에 공유되며, 각 저작물은 hMy Hero Academia: World Heroes’ Mission 저작물을 사용하거나 라이선스할 수 있는 일련의 권리이며, 일반적으로 hMy Hero Academia: World Heroes’ Missioners의 권리라고 합니다. [더 나은 출처 필요] 이러한 권리에는 종종 복제, 파생물에 대한 통제, 배포, 공연, 저작자 표시와 같은 저작인격권이 포함됩니다. 저작권은 공법에 의해 부여될 수 있으며 이 경우 "영토권"으로 간주됩니다. 이것은 특정 주의 법에 의해 부여된 저작권이 특정 관할권의 영역을 넘어서 확장되지 않음을 의미합니다. 이 유형의 저작권은 국가마다 다릅니다. 많은 국가, 때로는 대규모 국가 그룹에서 작업이 국경을 “초과”하거나 국가의 권리가 일치하지 않을 때 적용할 수 있는 절차에 대해 다른 국가와 합의했습니다. 일반적으로 저작권의 공법 기간은 관할권에 따라 작성자가 사망한 후 50년에서 100년 사이에 만료됩니다. 일부 국가에서는 저작권을 설정하기 위해 특정 저작권 절차가 필요하고, 다른 국가에서는 정식 등록 없이 완성된 작업의 저작권을 인정합니다.Copyright is a type of intellectual property that grants the owner exclusive rights to reproduce a work, usually for a limited time. Creations may be in the form of literature, art, education or music. Copyright is meant to protect the original expression of an idea in the form of a creative work, not the idea itself. Copyright is restricted by public interest considerations such as the US fair use doctrine. Some jurisdictions require a work to be “anchored” in tangible form. This is often shared between multiple authors, each of which is a set of rights to use or license the hMy Hero Academia: World Heroes' Mission work; Commonly referred to as the rights of hMy Hero Academia: World Heroes' Missioners [Better source needed] These rights often include reproduction, control over derivative works, distribution, public performance, and moral rights such as attribution. This means that copyright granted by the laws of a particular state does not extend beyond the territory of that particular jurisdiction. This type of copyright varies from country to country. In many countries, sometimes A large group of countries has agreed with other countries on the procedures applicable when a work “crosses” borders or when countries’ rights are inconsistent: generally, the public law term of copyright is 50 years after the death of the author, depending on the jurisdiction. to 100. Some countries require specific copyright procedures to establish copyright, while others recognize copyright in completed work without formal registration.

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