대중서사연구
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- P-ISSN1738-3188
- E-ISSN27139964
ISSN : 1738-3188
No.29
Abstract
The cinematization of radio serial drama painter active in the 1950,60s. This paper is a radio serial drama of a movie about the cultural background. And changing aspects of the cleanup. Two way radio, movies in the medium position. Radio serial drama of cinematization that began in the late 1950s scenario shortages. The radio drama is original. Therefore the film associates need a radio soap opera in film production. In addition, a radio serial drama of cinematization , even the broadcast. Radio drama, the public interest, but I thought it was. And it could be a high response. However, radio serial drama, this increases the radio serial drama of cinematization was central to the melo genre. This causes negative consequences for the status. Also on this point blame for the poetry of lines increases. especially since the 1960s because of the serial drama produced by the commercial stations, countries should increase even further. This is slow for the controversial weed. This is the impact of the dissemination of literary and movie and television receivers. The radio, movies, the two mediums are mutually affectedIn in the 195.60s. This is one of the features of popular culture in this period.
Abstract
This paper focuses on the problems of colonial legacy and post-colonial modernity in South Korean popular film in the process of making “national film” in post-colonial South Korea. The nation-building was not only a political process but also a process which is much involved with people’s emotions and imagination. Popular films in South Korea took great importance in visually imagining what “nation” is. Thus, male elites selectively chose or constructed the national film category in order to establish what the essense of national film. Often times, these elites discourse defined post-colonial “national” as anti-Japanism, Orientalistic beauty of Korea or the art films. Other films that do not has such quality were regarded as “low-brow” culture. Thus, this paper analyzes how these elites’ discourses excluded the akkŭk-based popular film, when they obviously displayed the traces of colonial popular culture. Despite the fact that many 1950s’ South Korean films were made based on these colonial performances, and received very well by common people, elite discourses strongly blamed these films’ inappropriateness as a national culture. Therefore, this paper will discuss the way in which colonial performances are embeded in postcolonial film, and Hollywood film techniques frame these old culture as a new and modern Korean culture by appropriating Japanese “war-time” entertainment culture into American’s. Through this analysis, I argue that the popularity of 1950s akkŭk-based Korean films reveal the unceasing power of colonial modernity in post-colonial Korean society and culture, and its different reception by elites and common people,which complicates the post-colonial South Korean cultural space.
Abstract
Anti-Communism ideology was used as effective means to unite the nation for accomplishing the goal of the ‘modernization of the fatherland’ which was the most urgent call for the Park regime in 1960’s. That issue is directly associated with the matter of how to describe ‘Korean War’ in making cultural production in those days. Both literature and film function as ‘lieux de mémoire’ where the nation store ‘collective memory’ of historical events. But how they operate is completely different in some ways because they work on different media and systems of capital and censorship on them work differently. During the Park regime, the fields of censorship and capital mingled together. Financial aid was provided for the works which express the ideas conformed to the government’s political propaganda. In 1960’s the influence of literature on mass had withered while that of film on mass just stared to gain prosperity. The comparisons of Lee Chungjun’s The Wounded and The Starting Point(Kim Soo-yong’s filmic translation of The Wounded) and Lee The General’s Mustache and Lee Eo-Ryeong’s The General’s Mustache (Lee Seong-gu’s filmic translation of he General’s Mustache) shows many differences among those texts which resulted from both media and social circumstances.
Abstract
Two axes supporting popular appeal of Ryu Si-hwa’s poetry are ‘pseudo religiosity’and ‘poetics of love.’ Combining religious seeking for truth and poetic aura, he emphasizes simplicity than complexity, reconciliation than conflict and positive consciousness than negative consciousness. Therefore, though his poems describe the situation causing conflicts, he stresses that we should solve them simply and clearly,even internally by changing our will or attention rather than socially renewing them. As much, his poetic language is the language of pseudo religiosity desiring transcendence to primitive affinity and sacred one. In terms of diagnosing pathological situations and consoling and curing them through clear and transparent paradox, his language closely accords with universal religious desire of the public who want the other to confirm the answer they already know and to comfort them. Also, the secret of Ryu Si-hwa’s popularity is in poetics of love. A strong nostalgia toward love as dedication and extinction constitutes such popular appeal. Narrowly keeping a balance as in acrobatics, love poems of Ryu pass through lightness most popular literature are adhering to and heaviness of books for cultured reading. From then on, most of his bestseller books contain the grammar and characteristics of love poem and aesthetically reproduce them. His poetics of love also consistently transforms from love of individual level to meditation religious level. In this respect,Ryu Si-hwa’s poems are not ‘a poetic language’ but ‘a religious language.’
Abstract
This thesis looks into the problem of 'Adaptation' and 'writing' in Adaptaion(2002)directed by Spike Jonze and written the play by Charlie Kaufman. This film make us think the meaning of writing as a transference from one work to the other. The story of this film is focusing on the main character's(Charlie Kaufman)alteration while trying to write a screenplay. The screenplay is all adaptation of The Orchid Thief written by Susan Orlean. But The Orchid Thief does not have a dramatic narrative item and conflicts between the characters, but it has a lot of informations about orchid. Therefore, Charlie Kaufman has difficulties in doing an adaptation. The other side, his twin younger brother Donald Kaufman writes and behaves freely without his anxiety. Donald Kaufman writes a sceenplay for an entertaining movie, and makes a hit in the amusement industry. Twin brothers Charlie and Donald are the double selves of a writer. They stand as a symbol of writer's desires. A writer has two desires of an art work and a popular work. Donald is the other self of the real writer, Charlie Kaufman. The relationship between the original author, Susan Orlean and the model of The Orchid Thief, John Laroche is interesting. They symbolize an author and a subject matter individually. Susan has a great longing for John's fervor. But she doesn't defend her own work of the story because of infatuating with the model of the story. Adaptaion has an antipodea phase in a story. The first half of that film has a speculative and serious story, but the latter half has a exciting and entertaining story. This aspect of Adaptaion explains the distress of writing or adaption itself. Writing or reforming composition is a kind of quarrel.
Abstract
<musulwonjo junggukoepamoohyupjeon> is the 1930’s ‘moo-hyup’ novels in korea. This novel has ‘Koon Dam’ novel’s characteristic and has hero novel’s story structure. This story has a the historical novel action imaging. but also has ‘moo-hyup’ novel’s characteristic. Throughout the work appears a ‘chivalry’. And shows the name of the martial arts and the shape of the martial arts. This is a feature of this work. Also explain about The ‘Shaolin Temple’. It’s to help the readers’understanding. These characteristics play an important role in studying Martial arts novels of the 1930’s. A little more Supplement is needed. Also it will be able to reveal the beginning of The Korea ‘moo-hyup’ novel.
Abstract
The primary purpose of this paper first is an overview of the discography of the SP record, which recorded the narrative of Hollywood movies released in the Modern Joesun by analyzing the background of the album release and features. Then analysis of the works of the silent-film narrator who recorded mainly Hollywood movie,identify aspects of transformation that the film narrative by the silent-film narrator. Also by analyzing some case the original movie has been released several times into regular edition and a popular edition album, some case the same work recorded different silent-film narrator and some case the repertory of particular silent-film narrator, investigate the audience’s taste for Hollywood movies and film narrative of silent-film narrator. finally, It is the result of the global spread of capital and technology based on the modern movies, records and cultural industries.
Abstract
Prokino(1928-1934) could not make films that captured the attention of audiences because of the lack of manpower and money. Inferior screening conditions including outdoor screening, bad equipment, and poor accompaniment added to its negatives. For these reasons, the audience never seemed to pay complete attention while viewing their films. They engaged in simultaneous conversation, arbitrarily analyzed the film, and commented on the various aspects of it while they viewed it. In such a free atmosphere, the viewing space became a space of resistance when the audience was composed of workers, and a cognate space of colonial people when the audience was composed of Koreans in imperial Japan. Because of relaxed viewing conditions and the proletarian camaraderie of audience in the screening, audiences regarded <Entotsusitsu Pero> as an antiwar film. But <Entotsusitsu Pero> was not an antiwar movie but a juvenile movie.