대중서사연구
- P-ISSN1738-3188
- E-ISSN2713-9964
ISSN : 1738-3188
No.20
Abstract
This paper aims to examine the Manchuria-Western genre which were produced from 1960s to the early 1970s as a sub-genre of ‘Daeryukmul’ and a appropriative genre of Western movies. Hollywood western movies have imported since 1945 largely and have influenced on Korean Action films. The Spaghetti- Western movies hit the big time in Korea since the middle of 1960s and led to the full scale appropriation of the Western movies. The result were Manchuria-Western films such like <A homeless wanderer> (1968), <An eagle of a wildness>(1969), <Cut off the Chains> (1971). The Manchuria-Western genre regarded just as the films for amusement. So ironically, the Manchuria-Western movies implied diverse desires which were not taken by main genres or Art films. the Manchuria-Western films opened up the new space of imagination which had capacity for the amusement such like fun, joke, game. In conclusion, the Manchuria-Western films means a kind of passive resistance against the dichotomy times. And it means also a kind of experimental genre which was formed between the genre and the genre. So it enables the crossover genre films such like <The good, The bad, The weird>(2008) in the digital era.
Abstract
This paper aims to examine the details of trot controversies. Controversies related to Lee Mi-ja are the dispute over Japanese manners in the 1960s and the argument concerning Lee Mi-ja in the 1990s. First, this paper considered the details of the first controversy using materials from the 1960s that have heretofore been unexamined. Japanese manners in the 1960s had visible effects, such as the group behavior of the Korean entertainer's association and the organization of broadcasting deliberation. The cause of the dispute over Japanese manners in the 1960's can be found in the climate of the songs at the time. Next, the argument concerning Lee Mi-ja in the 1990s began with Park Jong-moon's paper that dealt with Lee Mi-ja's songs. This paper created a sensation in the 1990s. Lee Young-mee brought together the various threads of this controversy. However, there is room for refutation of the Japanese manners and the characteristic new school that Lee Young-Mee insists upon. There is no need to mention the characteristic Japanese manners except that trot was introduced through the Japanese. Trot is a genre of song that was introduced by Japan and took on a Korean character in Korea. The preference for trot could be seen as a product of the tastes at the time. Also, behind the scenes, the distinction between classes played a part. This paper was written to provide a foundation for examining the controversy over trot and reestablish it's position in the history of Korean popular songs.
Abstract
Mobile phone novels are a new genre, where mobile phones have become a tool of creation and appreciation. The new genre has quickly grown and already come into the spotlight in Japan. It was affected by the characteristics of mobile phones and therefore has its own peculiarities. The following are the narrative characteristics of mobile phone novels: 1. Mobile phone novels are a kind of literature in which a person confesses his deep inner scars. It sustains the usages and emotions of mobile phones' mails and confesses a person's private 'hidden' or 'fatal' scars. Mobile phone novels clearly express the 'hidden' scars in order to emphasize the effect of confessing. In addition, the secrets related to the scars are multi-layered. 2. Mobile phone novels use the method of continuous revealing of the personal deep scars, that is to say, sending characters' scars to receivers without an end. 'Confessions', especially, become always moments of changing ways of living and driving forces of leading living. So the narratives of mobile phone novels completely corresponds with the orbits of confessions 3. Mobile phone novels straightforwardly show the facts that they deal with the experiences of their writers own. Mobile phone novels utilize the method of mobile phones' mail usage and emotions (sharing the writer's own experiences and stories), so the autobiographical characteristics are the basis of guaranteeing their probabilities and strong impressions. 4. Mobile phone novels sing changes in life made by computer connections. In mobile phone novels, which especially sing love between lovers, 'connections' have become a supreme value that defines love quite newly. 'Connections' have also become a driving force and a principle of living. 5. The main audience of mobile phone novels are mainly young females, so the frequent characters are the types of 'good bad man' and 'the guard angel'. These are the characters who are the reflections of female readers' wishful thinking and, when especially related to 'connections', the characters' powers and devotions are distinctively emphasized.
Abstract
This paper aims to look into aspects of the theme as love in Kim young-ha's short-stories. He is a novelist who has especially concentrated on the theme as sex, narcissism, death etc. His stories dealing with these contents have exposed a deadlock of love. According to 'The mean of you', 'The murder case in the photo shop', 'A contemplation on a mirror', this deadlock has two aspects. First of all, the subject who seems to fall in love actually doesn't love anybody except him/herself. He/She believes that has an objet petit a in his/her own being. He/She needs somebody only to prove the fact that he/she has an objet petit a. In another cases, the person who seem to fall in love know well that there each partners never love or be satisfied with them. But they can't stop loving there partners who give them only pain. The key to this situation would thus seem to reside in the split between knowledge and belief. "I know well (that the situation is catastrophic), but … (I don't believe it and will go on acting as though it were not serious)." The typical attitude toward the love which finds an objet petit a in an improper object is a perfect illustration on this split. So love is impossible because we in loving with actually never love each other. We love only ourselves, our objet petit a. Or we have a split between knowledge and belief. In Kim young-ha's short-stories, not even the purest love can escape this fundamental impasse of symbolization.
Abstract
TV drama <The Devil> is the ratiocination style drama which changes a traditional ratiocination format. As the drama which applies the rule which is official the existing investigation pole is tracking, explanation and event solution of the criminal one many sides applied the change from structure, the person style and subject matter dimension etc. and attempted the style drama of a more different dimension, is visible. <The Devil> solves a problem in the center of homicide accident and arrests the criminal the process which releases and is a ratiocination pole of riddle structure. But it pointed who is the criminal not the process and method. From here the event which happens chain, the doubt which is amplified, the problem solving delay is repeated. Also this work is disconnected and role category of the person which demands from traditional ratiocination narration the person style which changes is to seem. The process where the opposing person is identified finally leads and proposes a doubt about the line and evil. With the subject matter which is unique `psycho maul trees ' is this combines and raises the distinction characteristic of the different ratiocination pole. From relates with an event solution and `psycho maul trees ' major role. The psycho maul sprouts to read and the afterimage in the criminal case which solves a problem with end is delivered, in the watching person the gap between of the hero and the viewer originates because being presented time. Therefore with asking the question which is sincere about good and evil oneself, the entertainment which is a feature which ratiocination style is general, goes over the dimension which is a popular interest mortar indication curiosity the insect family hour height is to seem reading. This will be able to give meaning which is affirmative from the style development side from teleplay, puts the questionable matter will be possibility from the point which is a reading to open the possibility of the drama which had become diversification.
Abstract
The purpose of this thesis is to analyze the narrative structure and examine how to enjoy Romance of the Three Kingdom that has reorganized the original text of the same name in computer circumstances nowadays. Romance of the Three Kingdom Ⅺ uses simulation models that consist of many variables and mathematical operations. The unfolding of events through simulations becomes complex, and game players' various choices intensify it, at last the whole shape of events looks like Rhizome. However, the expansion of game story doesn't lead game play to chaos but gives order, because it was oriented by the facts in novel or history. "Scenario systems," "events systems," "patch programs," and "editor programs" make game story follow the original story. Above all game players’ using of patch programs and editor programs means that reader's sphere limited to "MimesisⅢ" in traditional narratives have extended to "MimesisⅠ" and "MimesisⅡ." And it shows the change in production and consumption of conventional literature. Meanwhile, the object of "the random story" is that hero chosen by game player will accomplish reunifying the whole country, and it makes "the random story" differ from "the back story" finally. In other words, "incompossible" series of events that stayed as potentiality in original story is able to be narrated, at this time the process of simulation as the "law of probability" will operate upon it. That makes game players' can write and read their own Romance of the Three Kingdom that is not equal to the origin. However game players doesn't content with it, they study the original text to make simulation process more flawless. In brief they make and enjoy virtual history with the antagonism between "the back story" and "the random story."
Abstract
This article aims to make an aesthetic notion of the word Yopki, by taking it as a secondary notion and not as a familiarized one in the everyday life. Most Koreans imagine at first cruelty and fear when they think about its meaning. As it represents the grotesque, which arouses a curiosity, it could hold the fear of strangeness as a conceptual element. But how can it be associated automatically with cruelty? To answer this question, we seek firstly a history of the taste for 'Yopki' since 1930s to nowadays and analyze the modifications of its meaning. It is toward Freud's aesthetics of Unconsciousness that our perspective is oriented. In this objective, we do also a very detailed analysis of the two chinese ideograms which constitute the word, to associate them with the return of the repressed, by calling for some Freud's notions like uncanny, pleasure principle, death instincts. By that, we can see the possibility to link the characteristics of Yopki with fear or angst which are produced by the return of the repressed. To finish, observing that the boredom and the narcissistic wound of an isolated individual in his hyper modernized life make his imagination aggressive and destructive, we can finally say that cruelty remains under the meaning of yopki in spite of its widespread and familiarized usage.
Abstract
This study seeks to examine the historical discussion on Shinpa by tracking down its process of changes, focusing on the 1920s and 1930s. In the discussions of early modern Korea, the conflict between the new and old appears the most extensively in the realms of politics, society, and culture. Shinpa (新派), or the new wave, was in opposition to the old wave, and was a cultural discussion and a form of representation, symbolizing the early modernity of Korea. But it soon turned to be a symbolic word indicating older and lower quality of culture product. I would like to argue that the meaning of Shinpa had been changed several times according to the process of Korean film production and discourse. In Chosun films, Shinpa was almost a kind of general style that films had to adopt as a matter of course. In the process of taste distinction in 1920s and 1930s, it was reduced down its meaning to old, unrealistic cliches. Around 1930, the left-wing film movement and the concept of film criticism emerged, and the popularity of foreign films, especially Hollywood films, Shinpa began to be depreciated in value, and it became an emblem of an old era, yellow-covered characteristics of Chosun cinema. Critics influenced on the meaning of shinpa converted, however, basically it was a sign of the formation of mass culture and a distinction of taste at the same time.
Abstract
If there is any room for 20th century ‘popular music’ to be interpreted as ‘people’s music’, the grounds for such an interpretation would be the oral practices embedded in popular music. But we cannot discuss the orality of popular music without considering sound reproduction technologies or the mass media connecting the individual members of an modern industrialized society to one other. And it is an inevitable irony that this mechanical reproduction and the mass media are products of a highly developed ‘literacy’ marked by scientific method, ‘rationality’, literate communication, and so forth. Therefore, at the very moment when our discussion of popular music turns to the question of a people’s political power exerted through orality, we end up with the following contradiction: that one of the main political ends of popular music is found in the affirmation of sound technologies that give popular music a ‘secondary orality’ and thus negate the ‘literate’ mass-mediated musical systems. Focussing on this dialectic character of orality implied in music in the age of mechanical reproduction, I examine a unique musical experiment, a musical play titled ‘Light of a Factory’ that was in 1978. I consider the value of popular music as ‘people’s music’, or its political potential to suggest a kind of musical orality focused on the relationship between popular music and mass-mediated reproduction.
Abstract
Cinema is a media that communicates based on sound and image. However, in reality most film directors deliver narrative in a traditional style for the structure of commercial film studio system rather attempts to 'produce' films effectively within genre tradition rather than to respect creativity of filmmakers. Such a current tendency makes it meaningful to pay attention to Gus Van Sant's recent films, from Gerry (2002), Elephant (2003), Last Days (2005), to Paranoid Park (2007), which visualize the director's painstaking effort to display the most suitable style for a specific narrative. This paper will look into the image and sound experimented in Last Days to present the death of Cobain, a member of the rock group, Nirvana.