This article evaluates the US ‘Monuments Men’ operations in Korea, focusing on wartime and postwar efforts undertaken by the government of the USA to preserve and restore artwork seized by Japan. The Asian initiative, conceived a year after the European model was established, likewise drew upon cultural, intellectual, and academic resources. Yet fundamental differences in personnel, perceptions of Korean cultural backwardness, prevailing imperialist attitudes, and Cold War sensibilities rendered a very different kind of project. Ultimately the ‘Monuments Men’ succeeded primarily in preserving the cultural patrimony of Japan, but it failed to recover any plundered objects from Korea, or the rest of Asia for that matter. Focusing on the US deliberations regarding repatriation of Korean looted art, this article lays bare both the US preoccupation with maintaining the national interests of its newest ally, and exposes an understanding of East Asian cultural hierarchy that privileged Japan’s artistic achievement and modern society above all.
4. “I Want Music Everywhere”: Music, Operetta, and Cultural Hierarchy at the Hal Roach Studios