A Quote by Lee Hyeon-seo

In North Koreans, the moment we are born, we don't know there's another life existing outside of our country. The regime always told us all the bad things about the outside world, describing America as full of thieves, all human scum, beggars, everyday people dying on the streets and hospitals.
All North Koreans know the risk of all their actions. Yeonmi Park grew up in North Korea and says watching outside videos changed her perspective of the world. She says, as a child, all she learned from watching state-run media was love for the Kim regime and North Korea.
One of the ways the North Korea regime has kept power is by keeping its people ignorant of the living standards in the outside world. That's the underlying lie that supports the regime - not that their country is 'normal' but that they are better off.
Brian Myers takes a fresh approach. He largely ignores what the regime tells the outside world about itself, but concentrates instead on what North Koreans themselves are supposed to believe, paying special attention to the North Korean narratives and mass culture, including movies and television shows. (...) There are few books that can give the world a peek into the Hermit Kingdom. The Cleanest Race provides a reason to care about how those in North Korea see themselves and the West. It is possibly the best addition to that small library.
North Korea is not the dictator's country; it's 25 million citizens' country, and they are suffering under the dictator. North Koreans are really nice, kind, pure people. I hate the dictator and the regime, but I love my home country.
Some people criticize North Koreans and ask, 'Are they stupid? How can they believe those ridiculous things?' But I say, It doesn't matter if you're smart: if you were born in North Korea, you would be exactly like us. We don't know what freedom is. We have never enjoyed it.
I suppose my dream was always about existing outside of London. Obviously the film world 10 years ago, when I first kicked off, was a very different landscape. Meeting anyone for a job on the crew, and on the cast, always meant a trip to London for me. But it's changed quite dramatically. You can't completely exist outside of what's down there, but things have changed massively.
North Koreans are tragically oppressed. Despite the risks to my personal safety, I feel a strong obligation to tell the world about the Orwellian nightmare that North Koreans face.
It is a pathetic moment in the history of the human condition when the outside world tells us who and what we are - and we start to believe it ourselves. Then, bent over from the weight of the negativity, we start to wither on the outside.
We are seeing, then, that our experience is altogether momentary. From one point of view, each moment is so elusive and so brief that we cannot even think about it before it has gone. From another point of view, this moment is always here, since we know no other moment than the present moment. It is always dying, always becoming past more rapidly than imagination can conceive. Yet at the same time it is always being born, always new, emerging just as rapidly from that complete unknown we call the future. Thinking about it almost makes you breathless.
North Korean defectors who speak out against the regime always feel nervous. We never know what the North Korean government is planning. It's really difficult for us to show our faces and speak out, but we feel obligated to do something to inform people about the ongoing tragedy inside North Korea.
Conscience is a creator of meaning. As a sense of constraint rooted in our emotional ties to one another, it prevents life from devolving into nothing but a long and essentially boring game of attempted dominance over our fellow human beings, and for every limitation conscience imposes on us, it gives us a moment of connectedness with an other, a bridge to someone or something outside of our often meaningless schemes.
A painting lets us know how somebody literally saw things. A piece of music is another language that transmits a whole wealth of emotion and wordless experience. But writing is special in the way at allows us to temporarily enter another person's world, to step outside the boundaries of our own time and space.
We are dying, we are dying, we are all of us dying and nothing will stay the death-flood rising within us and soon it will rise on the world, on the outside world.
Civil disobedience is not our problem. Our problem is civil obedience. Our problem is that people all over the world have obeyed the dictates of leaders…and millions have been killed because of this obedience…Our problem is that people are obedient allover the world in the face of poverty and starvation and stupidity, and war, and cruelty. Our problem is that people are obedient while the jails are full of petty thieves… (and) the grand thieves are running the country. That’s our problem.
Anyone has outside influences. They are the results of the cosmic roll of the dice: this person is born Aragon the Ranger, this person is born a prisoner in North Korea, this person is born Carlos the Dwarf. Some of these things are out of our control, but that doesn't mean that they can't be changed. A character, just like a person in real life, is a summation of her actions and feelings. Our actions and emotions are not performed against nothing, they do not arise from dust, we are in constant friction, and/or flow with our surroundings.
My pictures are about everyday life combined with theatrical effect. I want them to feel outside of time, to take something routine and make it irrational. I’m always looking for a small moment that is a revelation
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