电影艺术论
参考资料

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1 2 3  David-West 2009，第15頁.
1 2 3 4  Kwak 2013，第235頁.
1 2 3  David-West 2009，第13頁.
1 2 3 4 5 6  David-West 2009，第14頁.
1 2  Kwak 2013，第237頁.
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1 2  Kwak 2013，第234頁.
1 2  David-West 2009，第16頁.
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1 2 3  Schönherr 2012，第54頁.
1 2  Petersen, Martin. . Korean Studies. January 2012, 36: 88–89. doi:10.1353/ks.2012.0001. With conflict in art being 'the reflection of the class struggle in life,' class conflict must thus predominantly be described as a past and external phenomenon, apropos of the socialist realist theory of conflictlessness. Neglecting the mandatory depiction would be perceived as if the authors were raising an implicit critique of the North Korean state.
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1 2  David-West 2009，第18頁.
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↑  Kim Suk-Young. . University of Michigan Press. August 2000: 142  [2015-04-07]. ISBN 978-0-472-02689-0. （原始内容存档于2021-11-25）. The practice of positioning Kim Il-sung as the disseminator of national culture was consolidated into 'seed theory' by the North Korean cultural bureau. 'Seed theory' appeared in 1972 in North Korea's Dictionary of Literature and Art, which correlated the seed with Kim Il-sung's personal ideology[.]  含有連結內容需訂閱查看的頁面 (link)
↑  Kim Jong Il Biography 1 2005，第256頁.
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1 2 3  Clippinger 1981，第294頁.
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↑  Clippinger 1981，第294–295頁: "Its roots go back to 1971 when Kim Chong-il [...] was guiding the filming of 'Destiny of a Self Defense Force Member.' [...] [U]nder young Kim's guidance the entire filming, which normally would have taken a whole year, was completed in only 40 days. [...] The speed battle concept was introduced into the economic sector in late 1973 and early 1974[.] [...] As one of Kim Chong-il's major innovations, the speed battle symbol is intimately associated with him and has lost none of its vitality since its introduction in late 1973. In mid-1979 speed battle was given virtually coequal status with the Kim Il-song-inspired Ch'ollima Movement[.]"
↑  Kim Jong Il Biography 1 2005，第254頁.
↑  Broinowski, Anna. . . Penguin Books Limited. 2015-05-27: 51  [2015-07-21]. ISBN 978-0-85797-546-1.
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↑  Schönherr 2012，第56頁.
1 2  Edwards, Russell. . Metro (Australian Teachers of Media). 2013, 175: 120  [2015-04-06]. （原始内容存档于2020-02-23）. Schönherr also says Kim knew his 1989 book On the Art of Cinema was a failure and that this was his primary motivation for arranging the 'kidnapping' of Shin Sang-ok from Hong Kong.  含有連結內容需訂閱查看的頁面 (link)
↑  Fischer 2015，第79頁.
1 2  Savage, Mark. . BBC. 2011-12-19  [2015-04-06]. （原始内容存档于2021-11-19）.
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Clippinger, Morgan E. . Asian Survey. March 1981, 21 (3): 289–309. JSTOR 2643726. doi:10.1525/as.1981.21.3.01p0255w.
David-West, Alzo.  (PDF). Cultural Logic. January 2009, 12: 1–34  [2015-04-04]. ISSN 1097-3087. （原始内容 (PDF)存档于2015-11-23）.
Fischer, Paul. . Penguin Books Limited. 2015-02-03  [2021-11-25]. ISBN 978-0-241-96999-1. （原始内容存档于2021-11-25）.
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Kwak, Dong Hun. . Studia Universitatis Babeş-Bolyai, Philologia (National University Research Council). March 2013, 58 (1): 231–244  [2015-04-04]. （原始内容存档于2021-11-25）.
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Schönherr, Johannes. . Jefferson: McFarland. 2012-08-13  [2015-04-05]. ISBN 978-0-7864-6526-2. （原始内容存档于2021-11-25）.
平壤电影制片厂的金日成雕像。《电影艺术论》重新提出金日成专门为电影提出的艺术理论。
在这幅宣传画中，一位电影制作人手持《电影艺术论》。《电影艺术论》虽然被誉为朝鲜电影的权威，但它对电影制作的真正影响尚不明确。
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