30호
초록
<김종욱 찾기>는 2004년 초연 이래 뮤지컬, 영화, 소설로 장르를 바꾸어 인기를 모으고 있는 ‘첫사랑’의 서사이다. 이 글은 <김종욱 찾기>의 인물 분석에 초점을 맞춰 ‘첫사랑’의 문제를 어떻게 서사화하고 있는지 비교하는 것을 목표로 한다. 먼저 첫사랑이라는 낭만적 서사, 사랑이라는 무대, 사랑의 문법 등 인접 분야의 이론들로부터 사랑의 개념과 대중 관객들의 사랑 개념을 해석하는 참조점을 삼았다. 본론의 등장인물 분석은 크게 세 부분으로 나눠서 첫째, 여주인공의 사랑 찾기는 ‘첫사랑의 공간, 인도로 가는 길’, ‘(첫)사랑을 놓치다’, ‘사랑의 (재)발견’ 등으로 살펴보았다. 둘째 남자 주인공의 일인이역의 의미를 ‘김종욱이라는 이름’, ‘원기준, 사랑에 빠진 큐피드’, ‘김종욱 대 원기준, 닮음꼴의 존재들’이라는 세 항목으로 살펴보았다. 셋째로 멀티맨의 극적 기능을 살펴보았다. 이 작품은 김종욱 ‘찾기’에서 ‘잊기’로 가는 이별 여행을 통한 (첫)사랑의 통과의례이다. 작품은 열정과 우애 사이를 오가는 여주인공 오나라의 사랑법과 그 사랑의 완성을 위한 조력자인 김종욱/원기준의 닮음꼴 일인이역의 인물구도, 그리고 22색 멀티맨의 역할을 통해 이 시대 대중들의 추구하는 사랑의 의미를 탐색하고 있다. 이와 같이 운명적 사랑이라는 대중들의 환상을 재생산하면서 한편으로는 사랑은 선택에 의해 만들어가는 것이라는 인식으로 사랑을 재발견하여 효과적으로 교차시키는 것이야말로 작가 장유정의 극작술의 핵심이자 사랑의 문법이다.
Abstract
<Looking for Jongwook Kim> is the narrative of first love. That has changed to 3 genre (musical, film and novels), and gained popularity. This article focus on character analysis of 'First Love' in <Looking for Jongwook Kim>. First, Research has done for the concept of a reference point from the theory of adjacent areas. And I interpret the love of the audience and the public using the romantic epic of first love, the stage of love and grammar of love. The point of the character analysis squeezed into three main sections. First, to find the love of the heroine 1s 'the space of first love, the way to India', 'losing the love', 'rediscovery of love'. Second. the meaning of a double duty is 'The name, Jongwook Kim', 'Cupid fell in love', 'Jongwook Kim vs Gijun Won’. Third is dramatic role of Muitiman who have 22 kinds of multi-role. This work is the initiation of first love, that from 'finding Jongwook Kim' to the 'forgetting Jongwook Kim'. The work deals the love of the heroine nara Oh who moves back and forth between passion and friendship. JTwo helpers for the completion of that love, Jongwook Kim and Gijun Won have double duty in the musical. And explored the meaning of love in this period. As such, The Writer Yujeong Jang use of the illusion of love and destiny. But she creates new style of love that maded by two people’s choice. This is the core of the author's writing and the grammar of love.
초록
Abstract
A ‘real variety show’, one genre of the celebrity entertainment shows originated from Infinite Challenge (Muhan Dojeon) 8 years ago, is gaining continuing popularity. Although a variety of real variety shows are broadcast on several TV channels, representing a wide variety of formats and casts, they usually do not last very long. In particular, the TV celebrity entertainment shows are under the social and cultural influence, so their lifespan is getting shorter and shorter. Under these circumstances, the power of Infinite Challenge which has been broadcast for as many as 8 years is really amazing. The reason why ‘Infinite Challenge’ has been loved by the public for a long time can be the successful characterization and the growth and variation of the characters based on it. Infinite Challenge ingenuously combined fiction and reality and created images of the characters of seven fixed members. This way of establishing the images of characters leads to sympathy and laughter since it causes viewers to identify with the celebrities. The growth and variation of the Infinite Challenge characters can make stories with new forms and formats through this process. When the personalities and relationships of the characters are built concretely, they can create another narration and laughter sufficiently in spite of the central description that is rather weak. Muhan Corporation (Muhan Sangsa) series is the episode that made the best use of the characters of the cast of Infinite Challenge. It may safely be said that Muhan Corporation series is a single sitcom dramatized by creating the power relationship with the characters developed for 8 years and condensing them into each role. This means that the series is in accordance with the excellent form of narration, exquisitely being in harmony with the process of symbolization of the characters, narrative and the way of creating laughter. This narrative strategy and utilization of comedy of Muhan Corporation series enrich the narration of Infinite Challenge and help the show to go beyond the bounds of repetition-the limit of esthetics of the television show. And the strategy of Muhan Corporation resolves the problems of present Korean real variety shows and proposes the right direction at the same time.
초록
Abstract
A magazine produced cultural politics which the new age required, meeting the desire and ambition of public reader based on commercial applications since the modern age. While a magazine for amusements occupied extensively publication market and public reader in 1950’s, MyeongRang (『명랑』) of them played a role in constructing the identity of a magazine for amusements as a public place of sexual opinion. Especially, as a love affair novel in MyeongRang in 1950’s targeted at young people in their twenties, it was discussing sexual fantasy as a discourse. In addition, while it made sexual fantasies popularize, it generated the certain cultural and political effect. However, there was subtle change in the way after and before 1958. In other words, as women found sexual-ego when crossing the borderline between ‘inside’ and ‘outside’ family in a love affair novel in the middle of 1950s, they were reproduced as an active subject that could have a right to a sexual Selfdetermination to decide. As women felt an atmosphere of terror caused by sexual deviance by themselves and controlled their sexual desire, they got to ‘inside’ family. As the result, the readers enjoyed the sexual fantasy of a love affair novel without anxiety. On the other hand, just man was reproduced as a subject that had a right to a sexual self-determination to decide in a love affair novel in the late 50’s. As the result, it was divided naturally woman into ‘inside’ and ‘outside’ family and derived strongly more the patriarchal ideology that compelled sex norms of woman. Therefore, it was ridiculed, and adjusted them to unconsciously accept the ideas that it is common sense and universal that the sexual desire of woman is collected to just man ‘inside' family. Like such that, MyeongRang recognized sex as spirit of freedom and challenge in the mid-50’s, on the other hand, it cooperated to the cultural managed by the Korean Government and became as entertainment consumption goods of the images composed with faked reality, so it was eliminating spirit of liberalism inside sexual desire. Therefore, a love affair novel in MyeongRang constituted its identity as Kitsch on amusement offerings that commercialized sex and consumed, and played a part for making reading novel as a substandard goods, which promoted taste-class after modern times.
초록
주인공이 작가와 동일시되는 웹툰(Webtoon)은 개인의 일상생활과 사적인 체험을 재현한다. 이는 자아의 감각적인 감수성을 중심으로 하는 서사 세계를 보여주는데, 이러한 작품군이 주류로 성장한 경우는 한국 만화사에서 유래가 없는 일이다. 그러므로 웹툰은 단순히 만화를 웹 연재로 바꿔놓은 것이 아니며, 그 서사성은 기존 만화와 변별적인 지점에서 재규명되어야 한다. 웹툰의 발생과 발전을 반영하는 자기 재현적 웹툰은 외부 사회와 이데올로기가 아닌, 개성적이고 개인적인 인간에 대한 문제의식을 바탕으로 ‘작은 이야기’의 담론을 형성한다. 20세기 한국의 서사 문화를 지배해왔던 것은 거대 담론의 압력이었지만, 이러한 서사 담론이 변화하여 일상적 개인의 가치를 복원하는 미시 서사의 움직임이 활발해지고 있다. 웹툰은 이러한 ‘작은 이야기’의 수용이 디지털 패러다임 속에서 발현된 것으로, 개인 재현의 담론 속에 역사적이고 정치적인 정체성에서 자유로운 ‘자기’를 제시하고, 그러한 개인들의 상호 소통이 실천될 때 생활의 진실이 표현될 수 있다는 의식을 구현한다.
Abstract
In Self-Expressive webtoon, main character is regarded as real author through its realistic representation of daily life and private issues. This can lead to ego-centric narrative world which emphasizes on individual-self and excludes social relations around the ego. This study looks into the webtoon compared to tradition of Korean literary culture. In Korea, Macro history and nationalism constituted the dominant discourse in narrative- culture. In contrast, webtoon depicts personal stories which is free from major ideologies and social pressure. For that reason, the Self-Representative webtoon embodies thematic idea of unique individuality and personalism, creating a phenomenal trend which is unparalleled in Korean cartoon history. Therefore, Webtoon is new media which is distinct from pre-existing cartoon, and its narrativity and characteristic has to be analyzed from different point of view.
초록
Abstract
This study aims to analyze the effects and the significance of comedies featuring Charlie Chaplin on Korean audiences and popular culture in Korean theaters in the 1920s and 1930s, focusing on the screening of Chaplin’s comedies and the sensation it created in Korea. Korean movie theaters in Gyeongseong mainly screened Hollywood films, that they were even called Western movie theaters, until 1934, when the Regulation for the Control of Motion Pictures was promulgated. Until the late 1930s when the number of Hollywood film screenings decreased due to political, economic, and cultural reasons, Chaplin’s films were tremendously popular—both new films and reruns were screened over 70 times between 1918 and 1937. However, after City Light (1931) was screened in 1934, most films that were shown were reruns of Chaplin’s short slapstick comedies produced in the 1910s and early 1920s. These shorts had been reborn as a sound film by inserting sound effects and music, and distributed by RKO. Then in the late 1930s, they were circulated in Korean theaters. Unlike Japan, where Charlie Chaplin’s films produced various imitations, adaptations, and parodies, public theaters instead of films first adapted Chaplin’s comedies in Korea. Chaplin’s films brought the visuals and cinematic laughter with humor involving physical activities to the comedies performed in Korean public theaters, which had a strong tradition of auditive laughter that mainly consisted of jokes and witticisms in stand-ups. This allowed for the integration of “slapstick” as a form of performance to the Korean entertainment industry. Chaplin became an object of appreciation and admiration for the Korean intellectuals, who confirmed their shared identities as “contemporaries” and “intellectuals,” and also became aware of their status as “the colonized” through the films. On the other hand, Chaplin’s films were palpable and real for the common people who were forced by the modernizing world to become urban laborers and live in poverty. Chaplin’s films brought issues of poverty and marginalization to the fore through the protagonist, a social misfit whose dignity was constantly attacked. As such, his films elicited sympathy from the Koreans who faced incessant frustration and depression since the colonization of Korea by the Japanese. Chaplin’s films also functioned as a guide for the “already present” modern world and a buffer against the grievous modern world.
초록
새롭게 등장한 괴물을 논한다는 것은 그것을 탄생시킨 이들에 대한 고찰이다. 최근 우리나라에 등장한 좀비들은 이와 같은 시각 안에서 흥미롭게 풀어낼 수 있는 대상이 된다. 2000년대 중후반부터 웹툰, 영화, 텔레비전 드라마나 영화에까지 다양하게 등장하고 있는 좀비들은 신체훼손이 거의 없는 한국의 귀신과 대척점에 있다는 점에서 먼저 등장 자체에 의미를 부여할 수 있다. 그러나 무엇보다도 좀비는 이를 대중문화 속에 불러들이고 즐길 수 있는 세대가 명확하다는 점에서 세대론적 논의를 생산할 수 있는 문제적 키워드로서의 가능성을 지닌다. 1990년대에 유년기를 관통하고 문화로 자신의 정체성을 드러내왔던 현 20-30대가 좀비의 생산주체이며, 이들의 사고와 감정이 녹아든 좀비는 익숙한 괴물의 범주를 벗어났기 때문이다. 이들이 만들어낸 좀비는 기억과 의지를 가지고, 자신들을 억압하는 질서를 고발하며, 좀비가 된 후 더욱 적극적인 모습으로 가족들과 소통하는 등 공포의 대상이었던 서구의 좀비와는 전혀 다른 특징을 보인다. 이같이 변화한 좀비의 모습은 현 20-30대가 좀비를 해석하며 녹여낸 그들의 정체성을 담고 있기에 주목할 필요가 있다. 훼손된 신체와 상관없이 자신들의 의지를 표현할 수 있다는 자신감, 좀비를 가해자에서 피해자로 전복시켜 보여준 기존 질서에 대한 불신, 좀비가 된 자신들을 이해해 주는 이들 안에서 행복해지는 한 세대의 모습은 곧 생사의 경계를 넘나드는 좀비의 모습 속에서 그들이 읽어낸 스스로의 모습이었다. 현재의 이 젊은 세대들은 정치적으로나 경제적으로 그들의 의지를 드러내지 못하고, 표류하는 것으로 평가받아왔다. 그러나 이들은 문화 속에서 스스로를 드러내 왔으며, 그 속에서 성장해 왔기에 정치, 경제적 틀이 아닌 유동적으로 흐르고 있는 문화 속 감정을 해석할 때 그들만의 세대론에 근접할 수 있다. 즉, 현재 한국에서 출현하고 있는 독특한 ‘한국형 좀비’들은 ‘문화세대’들의 창조물이자, 그들의 정체성을 읽어낼 새로운 키워드로 볼 수 있다.
Abstract
Discussing newly emerging monsters is like considering their creators. It would be intriguing to apply such a point of view to the zombies showing up lately at home. Since the mid and late 2000s, diverse zombies have appeared in web-toons, films and TV dramas. In the sense that they are the antipode of Korean ghosts hardly disfigured, their appearance in itself should be considered significant. Yet, it should be noted that there is a generation clearly capable of enjoying zombies in its mass-culture. People now in their 20s and 30s should be viewed as the agents who have generated zombies as they spent their childhood in the 1990s going through Hollywood horror movies and culture, which have been reflected in their identity. The 2030 generation has created some idiosyncratic zombies that have memories and intentions, accuse the oppressive order and build their own communities actively, all of which aspects are completely different from their terrifying counterparts of the West. Such distinct aspects of zombies reflect the identity of the 2030 generation that has translated western zombies into their own versions. The confidence in expressing their intentions regardless of disfigured bodies, the representation of their distrust in conventional order by portraying zombies as victims not as inflictors, and a sense of happiness felt among those who appreciate them mirror their own translation of zombies crossing the borderline between life and death into what they are. The current 2030 generation has been viewed as drifting without being well positioned economically and politically. Nonetheless, they have expressed themselves and grown in culture, in which sense their own generation theory can be elicited not from the perspective of political and economic frames but from their sensibility and sensitivity flowing in their culture. In other words, the emerging distinctive ‘Korean-style zombies’ are the creatures of the ‘cultural generation’ and at the same time a new keyword pointing to the identity of the generation.
초록
Abstract
This paper studied that the modern women’s various neurosis embodied in “Fruit”(1937), “Flower Patterns of the Century”(1938), “Sad Solution”(1938~39), three novels published in a representative women’s general magazine Women(1936 ~1940) in the 1930s, took place in process of the modern women’s awakening of their corporalities, desire to satisfy this, the existing solid social frame of the traditional /feudal society, and mutual confrontation and antagonism of desires to peacefully settle for this frame. These novels capture exactly awareness/thoughts of sex, love and marriage of the modern women in the mid- and late 1930s and various aspects of ‘neurosis’ happening in the gap of their real life. These neurosis seem to occur from distinct characteristics of space and time on which they were, rather than occurring from the limitation of the modern women. That is, their neurosis might start from opposition and hybridism between feudalism established firmly in space and time of the Joseon Dynasty, the mid- and late 1930s, and newly risen modernity. Therefore, in that duplicity and disruptive aspects they showed fundamentally were prosecuted by desires to transform the old custom of the traditional society, those may be the scale to show the strength of the social suppression given to the modern women distinguished from the traditional women and something to prove innovation (modernity) of the modern women. “Fruit”(1937), “Flower Patterns of the Century”(1938) and “Sad Solution”(1938~39) of the professional male writers are the representative novels that these special characteristics of the modern women were clearly embodied. “Fruit” is a novel describing that a divided attitude toward sex taken place from internalization of the modern women’s virile eyes and loss of identity paradoxically began from women’s awakening of sexual desire and a strong craving to satisfy this. “Flower Patterns of the Century” is a novel portraying that asceticism/intellectualism of the unmarried women are substitutes of women’s sexual desire hard to be satisfied in the male- centric feudal society. And “Sad Solution” is a work depicting that a modern woman’s transformation into ‘femme fatale’ results from the delay of sexual satisfaction. Like this, in that the modern women’s twofold situation represented in the above novels and the aspects of various neurosis coming from this took place from the fact that the modern women of the mid- and late 1930s could not secure their identity in the realms of sex, love and marriage, it may show the modern historic limitation they had. However, from the aspect that their various neurosis were caused by their longing for free sex, love and marriage and conflict/collision of social structure oppressing this, it may express the modern women’s innovation(modernity). In other words, neurosis of the modern women in the mid- and late 1930s may be the salient indicator showing the modern historic significance and limitation at the same time.
초록
1968년 9월 22일 <서울신문>의 『선데이서울』을 시작으로, 11월 17일 <경향신문>의 『주간경향』, 다음해 1월 1일 <한국일보>의 『주간여성』이 창간하는 등, 70년대 ‘주간지 시대’의 도래를 알린다. 창간호를 시작으로 매호마다 이례적인 기록을 내놓았을 만큼 독자들은 『선데이서울』에 열광했다. 『선데이서울』은 초고속 성장과 급격한 도시화, 소비문화의 변화와 여가생활, 문맹률 감소와 독서 시장의 팽창, 초등학교 의무교육과 문맹률 감소 등 1960년대 후반, 한국사회의 복합적인 현상이 발아되어 창간된 대중 독서물이었다. 『선데이서울』에 드러나는 ‘성’과 관련된 서사는 『선데이서울』이 본격적인 성인오락지라는 잡지의 성격을 보여주는 대목이기도하다. 그러나 먼저 선두로 창간된 『선데이서울』은 기존의 잡지와는 다른 독특한 특색을 갖추고 있었다. 『선데이서울』은 기존의 잡지에서 ‘보는 잡지’라는 오락성을 수용하되, 당대 독자들의 구미에 맞는 다양한 코너를 신설한다. 『선데이서울』의 「청춘1번지」는 청춘남녀들에게 음악 감상과 토론의 장(場)을 제공하기도 했다. 『선데이서울』은 독자들에게 도시생활에서 필요한 ‘생활 가이드’로서 그 역할을 톡톡히 해냈다. 특히, 매호마다 주말 여행지를 소개하고, 여름휴가 계획에 관한 정보를 제공하는 등, 독자들에게 일상을 계획하는 방법을 제시하였다. 다양한 성격의 르포(reportage) 기사나 수기는 독자들에게 도시의 일터를 벗어나 달콤한 휴식을 제공하였다. 다양한 사건의 심층 취재에서부터 생활정보까지, 『선데이서울』에 실린 서사들은 각양각생의 취향을 가진 다수의 독자들을 매료시켰다. 1960년대 대중 독서물이 재편되는 그 중심에 『선데이서울』이 존재하고 있었다.
Abstract
On September 22, 1968, <The Seoul Shinmun> launched a weekly times called “Sunday Seoul,” on November 17, 1968, <The Kyunghyang Shinmun> presents “Weekly Kyunghyang,” and the following year on January 1, 1969 <Hankook Ilbo> presents “Weekly Woman.” During the early 1970s, it was widely known as the “weekly time’s era.” Since the first published issue/volume of weekly magazines, the major newspaper companies set an unusual record of being “sold out” and nevertheless the “Sunday Seoul” became most popular magazine amongst the readers. The “Sunday Seoul,” showed high-speed growth and rapid urbanization, changed the lifestyle of consumer culture and leisure life, reducing illiteracy, expanding the markets of literature, and compulsory elementary education reduced the illiteracy in the late 1960s. The South Korea’s complexity societies have produced a social phenomenon emerging into a public reading style. In other words, the “Sunday Seoul” reflected through the readers and due to changes in trends; the new reading style thus created. In contrast to general “reading magazines,” the “Sunday Seoul” accommodated the entertainment and other variety topics to the readers. The “Sunday Seoul” also published a column called “lifestyle or community newsletter (living information paper)” informing readers about necessities in urban life. Moreover, the “Sunday Seoul” provided “Music Salon (Eum-Agsallong)” to the adolescent teenagers where they can express their feelings and have discussion on any topic. Especially, every issue and volume they put out to the public, the “Sunday Seoul” included weekend sensational popular vacation spot or sightseeing places as well as introduced a section called, “how to plan your daily life” where people can anticipate a pleasant break from their demanding professions. The “Sunday Seoul” also focused on an in-depth coverage of extraordinary events of daily lives and appeared in the epic variety that fascinated many readers. Thus, this research will further take into the changes of reading style that readers desire and discover the aspects of the trends.
초록
Abstract
This study aims at investigating Korean society and a crisis of identity that foreign migrants from North Korea and Bangladesh experience while analyzing films representing a life of migrants in Korea such as “Hello, Stranger,” “Bandhobi,” and “The Journals of Musan.” Also, the study investigates a sense of solidarity and otherization of foreign migrants in Korean society. With these purposes, the study compares imagery of foreign migrants represented in novels and films, proves that the differences—description by narrative in a novel and representation by camera in a film—are made because of different characteristics of media, and above all, attempts to find significance of imagery of migrants in films because a more active independence can be depicted in a film. Korean society and culture that foreign migrants face and experience in films are not an unique tradition in Korea or a society with cultural particularities, but a “system” itself made up by a materialized metropolis and its citizens. In films, foreign migrants are more “humane” than materialistic Koreans. In spite of cultural differences, they have sympathy for the minority and try to help them (Jin-uk), live with their own traditional values and hopes for happiness instead of materialistic desires (Karim), and can’t help but compromise with the reality (Seung-cheol). In a capitalist society, the characters in films try their best to live a better life with humanistic solidarity and sympathy and obtain their own independence. What is the possibility of hospitality for foreign migrants who have to live as the economic minority class in a capitalist system? With analyzing various scenes in films, it would be possible to discuss ethical attitudes from different theories like tolerance, solidarity, and hospitality. But before understanding the discourse, critical under- standing of problems in a capitalist society must precede dreaming of multicultural environment and cultural hybridity.
초록
이 글에서는 게임화(gamification) 측면에서 텔레비전의 리얼 버라이어티 쇼를 바라보고자 한다. 얼핏 리얼 버라이어티 쇼의 ‘리얼리티’와 ‘가상의’ 게임은 함께 만날 수 없는 개념처럼 보인다. 그러나 일본의 문학평론가이자 문화비평가인 아즈마 히로키(東浩紀)는 이 섞일 수 없을 것 같은 둘을 ‘게임적 리얼리즘’이라는 개념으로 엮을 수 있게 돕는다. 이 글에서는 텔레비전 리얼 버라이어티 쇼의 가장 두드러지는 특징을 게임적 리얼리즘으로 간주하고, 그러한 게임적 리얼리즘에 리얼 버라이어티 프로그램을 위치시킴으로써 최근 텔레비전 리얼 버라이어티 프로그램 쇼의 게임화를 종합적으로 정리하고자 한다. 구체적으로 관찰하고자 하는 리얼 버라이어티 쇼는 SBS의 <일요일이 좋다 – 런닝맨>이다. 분석을 통해 첫째, 게임화와 게임적 리얼리즘이 무엇이고, 그것이 가져온 변화에는 어떤 것이 있는지 살펴보았다. 둘째, 게임적 리얼리즘이 리얼 버라이어티 쇼와 만나고 있으며 게임적 리얼리즘을 통해 리얼 버라이어티 쇼로부터 수용자들은 재미를 얻어내고 있었음을 찾을 수 있었다. 셋째, 리얼 버라이어티 프로그램의 게임화, 그리고 게임적 리얼리즘을 통한 즐거움, 재미가 갖는 이 시대적 의미를 정리해보았다. 분석한 텔레비전 리얼 버라이어티 쇼는 데이터베이스에 기반한 캐릭터 형성, 데이터 베이스에 맞춘 게임적 리얼리즘에 입각해 있었으며 수용자 또한 데이터베이스에 대한 충분한 이해를 기반으로 즐거움을 얻고 있었다. 컴퓨터 게임에서 얻는 즐거움을 텔레비전 리얼 버라이어티 수용자들도 얻고 있는 것으로 추정되었다. 그 같은 결론을 기반으로 게임화가 텔레비전 오락 프로그램에서도 이뤄지고 있는 것으로 파악했다. 그 결과를 놓고 텔레비전은 수용자에게 능동성을 제공하고, 다양함을 선사하는 것처럼 보이지만 실제로는 게임적 리얼리즘에 동의하지 않으면 아예 쇼를 이해하거나 재미를 얻지 못하게 막는 장치를 마련하고 있었던 것으로 해석했다.
Abstract
A television real variety show, <Running Man> on SBS, is enjoying a big popularity among children domestically and internationally. School children are not only regularly watching the show but mimicking performances of the celebrities on the show during their own playground games. We assume that the popularity of the show among younger viewers is closely associated with computer games. Referring to 'Gamification', we suggest that the television show import and appropriate logics from computer games and take advantage of 'Gamic Realism'. Television becomes closely to move toward computer games and to utilize their logics. Thus viewers tend to regard television watching as game playing and to feel like to have Gamic Realism. We tentatively conclude that television gamifies the show and asks the viewers to follow the show as if they are playing computer games. It follows that the show, <Running Man>, provides its viewers with Gamic Realism through Gamification. For the gamification, the show gives celebrities a certain type of character. All celebrities on the show are accumulating and constructing database on the basis of their past activities shown on other episodes, and their own real personality.
초록
Abstract
Novelist Young Moon Jung has tried to broaden the horizons of Korean literature during seventeen years since his debut. Before 2011 the year A World of Artificiality published, His novels has shown the quest for existence or the game of language. His writing of insignificance and uselessness, based on Kafka’s nihilism, faces the despair of the existence or confronts the meaninglessness of life. Therefore Jung’s novels have been understood as the contradiction, conflict and struggle between novelist and the world. His progress from the earlier work view and new generation lets him attract an attention. In A World of Artificiality which is the turning point work in his writing, the ideological expression of the inaction appears deeply. His writing, having been against artificiality and civilization, revolves from the human centrism to the nature centrism and ultimately returns to the original human nature. The Inaction appeared by protagonist in A World of Artificiality exposes innocence like a child. It is abstract as mist, flows like stream and is created with the face of the nature. He resists against the actual reality adopting ‘doing nothing but not doing nothing.’ He dreams the absolute freedom through ‘peripatetic enjoy.’ In A World of Artificiality, The human’s desire that makes him carry on the artificial life is sublimated to the pleasure. It becomes possible through protagonist’s imagination of self-renunciation and writing of pleasure. Jung floats and changes himself in A World of Artificiality. I analyze A World of Artificiality through Asian thought, especially Taoism. A World of Artificiality is the world of inaction and fiction. Jung’s writing becomes the best way that the people, being confronted with the life that is made by artificiality, could carry on his life with maintaining his nature.
초록
Abstract
This study deals with the five pieces of Korean movies including “올가미(The Hole)”, “오로라 공주(Aurora Princes)”, “세븐 데이즈(Seven Days)”, “마더(Mother)”, and “피에타(Pieta)” dubbed as ‘mother discourse’ of 2000s to see how and why the maternal image has changed. Its focus is given to “마더(Mother)” and “피에타(Pieta)”. Father does not exist in the ‘mother movies’ of 2000s. This is not only the reality of modern Korean society, but also an aspect of the modern industrial society in general. The absence of fathers has imposed responsibilities on mothers to protect their children. Mothers have changed as they undertook the roles of fathers. The quoted five movies reflect such changed image of maternity. In addition, in the wake of the ‘only-child’ complex, the mothers even make themselves a revelation of negative animus. “마더(Mother)” is a good example. This movie shows that the blind love of the mother results in tragic catastrophe. In the movie having factors of incest, the mother becomes a witch or a murderer. In this respect, “Mother” calls for our retrospection on mothers while it shows the changed image of maternity in lineage of the ‘mother movies’ of 2000s. “피에타(Pieta)” reveals multi-dimensional characteristics of a mother. The movie belongs to the category of ‘mother movies’ in a sense that the mother shows a negative image of maternity by destroying the devil in revenge of her son. On the contrary, the movie has a different status as it reveals an affectionate and positive image of the mother, presenting a new paradigm for pursuing the matter of human salvation through the ‘mother discourse.’
초록
Abstract
In this paper, I tried to analyze the contents of the writing “A certain morning” focusing on its writing style and also interpret what it tries to say considering the political and ideological environment surrounding the period of the work. Kim Nam-cheon in 1940s understood the novels focusing on the setting and disposition of characters. In the essay “Novels of tow doctors”, he thought that rather than setting the main character having positive (active) personality for the work, it would be better to set the various characters (the type) living in ordinary life to show his theme in the book. His thought like this was realized in the book “A Certain Morning”. In this work, a centeral character “I” is set as an observer. There are also a lot of various kinds of characters surrounding “me” in Late Colonial Era. With this kind of setting, he could show the fall of intellectuals in the period of colonialism, fall of enlightenment idea, appearance of family ideology and loyal man ideology as well as the lifestyle of Korean under the project of Japanese imperial subjectivation (including singing the Japanese military songs, physical exercises and elementary school system). In the understanding of “A Certain Morning”, the personality of “I” is critical as it has the idea of “Imitator of imitator” and “person who respects men but looks down upon women”. First as the personality of imitator of imitator, he showed the internal logic of the project of Japanese imperial subjectivation (imitation mechanism), and exposed the paradoxical mixture of identity (kokumin = loyal man to Japan) and hierarchical heterogeneity (kokumin as a model ≠loyal man to Japan as imitator). Next, the personality of person who respects men but looks down upon women showed the inequality of society. It showed that the society in Late Colonial Era was where the unequal relation was kept to continue while the promise of equality was told. In this work, the motive of “the birth of a baby” went forward to historize the paradoxical status of society. As the future of the baby was raise as a question, the sociey in Late Colonial Era was related to the necessity of repetition of the paradoxical status and the possibility of deconstruction of the paradoxical status. “A Certain Moring” is hard to define as work for either the cooperation with the imperial power or the resistance to it. It is because in this work, there is no way to get out of the paradoxical status of colonial society and Imperial subjects or any visions alternative to this status. Instead, this work has thematized the project of Japanese imperial subjectivation itself that conditioned the cooperation with and resistance to the colonialism, so showed another possibilities in the literary works of Korean's in Late Colonial Era.
초록
Abstract
This study locates the mutual negotiation of literature and film in the colonial era of Chosun in intertextuality between two media, not in the ways in which one medium emulates the specificities of the other. Through a close reading of the specific cinematic quotations in Lee Hoy-Suk’s novels, this study explores how Lee’s perception of the Hollywood films affects his bent for the European films. Ultimately, this is an essay on the socio-cultural implication of the Hollywood representations in Chosun literature of the colonial era. The Hollywood film quoted in Lee’s novels connote the commodified sexuality or sexual desire itself, that is, a commodity serving to colonize what is European. The metaphor of the apple that frequents in Lee’s novels such as Orion and Apple and Juriya(1933) can be traced back to Morocco, a 1930 Hollywood film. “The philosophy of apple” championed by the women in these novels is nothing more than the philosophy of market, speaking to the ways in which their sexualities are misused and appropriated by capitalism. The apple even serves as a metaphor for the world dominated by Hollywood, evoking the pity for the European film devastatingly colonized by the Hollywood film industry. Lee’s admiration of Pépé le Moko(1937), a French film, in his novel, Yeosu(1939), is predicated on his “imaginative” association of Hollywood with the other, not so much as attesting to his European style. However, Lee’s negative perception of the Hollywood films and counterpart predilection for the European films are problematic due to his negligence of the difference between Chosun and Europe. Lee’s lop-sided attitude towards Hollywood and Europe is more problematic in that this kind of attitude is still effective in the present.
초록
Abstract
In this paper, by the late 1990s, early 2000s, gay novel of the table to note the cultural discourse that has been noted with homosexuality and sexual identity a ‘difference’ you’re considering coming out of a small number of subjects is that the gay community has been highlighted by. These multicultural era not protected by the state law or ‘minority’ is Badiou conceptualized in terms of a ‘stranger’ can be added to . The philosophical basis for contemporary cultural discourse, especially Taylor’s “recognition” on the basis that when the politics of the minority groups ‘recognition’ of Korea is in the process of cultural awareness has been reflected with what appeared in the Korea Society ‘as a homosexuality stranger’ is to determine the identity of the . Many minority and the ‘recognition’ to ‘false’ one may wish to consider Zizek’s resistance to the point of is not the type of subject minorities, homosexuals ‘recognize’ the process ‘pity , disgust, fear’ could be classified as the eye . Pity / disgust , fear = acceptance / rejection of the eye can be considered a wake two minutes , but the eyes ‘gaze fantastic subject’s narcissism ever’ based on the ‘type’ of Zizek in that it recognizes the “false illusion” resistance is red eyes can be come up with . This is because the illusion of narcissism ever subject to switch to ethical ideals abstract universality of violence against others , which soon lead to a discussion of Butler reflects that . Narcissism ever performed by the subject judge and others to recognize themselves in the act to determine the type of the identification process of the subject 's just at this point and kill the otherness of the other murder he says. Thus, by focusing on the logic of the identity of the speaker normal / abnormal dichotomy of the hierarchy by a mechanism of exclusion by the homosexual minority ‘betrayal and overthrow and exile’ in the course of “Pagan, patriarchy as regression instrumentation, the monster as” to note tand that the analysis can be repeated
초록
본 논의의 목적은 리얼리티 프로그램인 <정글의 법칙>의 리얼리티 효과를 규명하는 것이다. 조작 논란이 불거진 것에서 알 수 있듯이, <정글의 법칙>은 리얼리티 프로그램에 접근하는 데 있어 시사하는 바가 큰 프로그램이라 할 수 있겠다. 특히나 본고에서 논의하려는 리얼리티 효과는 프랑스의 기호학자 롤랑 바르트가 정의한 상세하고도 긴 묘사가 제공하는 사실주의적 동기보다는 좀 더 넓은 의미를 지칭한다. 이 글에서 다루는 리얼리티 프로그램의 리얼리티 효과란 리얼함의 환각을 구성하고 재현하는 텔레비전의 장치들이 수용자에게 발생시키는 몰입의 시청 경험이라는 의미로 사용된다. <정글의 법칙>에서 리얼한 환각을 주기 위해 어떠한 재현의 구조와 시청각적 스타일이 활용되고 있는가? 그리고 그와 연관되어 드러난 다른 사람의 실제 삶에 대해 다양한 층위에서 접근하고 있는 시청자의 보기 행위는 어떤 리얼함의 감각을 지니는가? 등의 질문들이 본 논문에서 논의하려는 핵심적 실체다. 다종다양한 리얼리즘의 스펙트럼이 존재하지만 본고는 시청자의 시공간에로의 몰입, 등장인물에로의 몰입과 관련된 환각주의의 모델을 따라 리얼함의 감각을 리얼리티 프로그램 <정글의 법칙 : 아프리카 편>에서 섬세하게 재구해 볼 것이다. <정글의 법칙> 같은 리얼리티 프로그램의 리얼함의 잣대는 현전의 아우라, 믿을만한 자율적인 독립적 리얼리티를 얼마만큼 화면 속에 창조할 수 있는가에 달렸다. 하여 리얼리티 프로그램의 리얼함의 환각주의적 모델은 관객과 배우의 관습적 약속에 의해 실제 무대 위 시공간과 인물을 드라마 속 시공간과 인물로 믿어버리는 연극적 환각과 너무나도 닮아 있다. 이 논문에서 리얼리티 텔레비전 <정글의 법칙 : 아프리카 편>의 재현적 현실을 연행되는(performing) 현실로서 전제하고 그것의 오락적, 다큐적 기능에 관한 논의를 전개한 것은 이러한 이유에서다. 결과적으로 <정글의 법칙 : 아프리카 편>의 리얼리티 효과를 분석하는 과정을 통해 본고의 논의는 리얼리티 TV 속 연행되는 현실에 관한 논의의 하나의 사례로서 리얼리티 텔레비전 연구에 기여할 것이라 본다. 더 나아가 허구적 텔레비전 드라마에 초점을 맞추어왔던 영상 문학 연구 경향에도 텔레비전 문화 연구에 대한 학문적 자극을 제공할 것이라는 점에서 본고는 의의를 가질 것이다.
Abstract
This paper's aim is to study the reality effect of reality TV The Law of The Jungle. As we know from its recent fake controversy, The Law of The Jungle is a very suggestive program to approach reality television, In particular, the reality effect in this paper means a more broader concept than the reality effect by the French semiologist Roland Barthes, which is defined as a detailed and long description, resulting in realistic motivation. This paper defines the reality television's reality effect as immersive viewing experience that television brings out to viewers, constructing and representing illusion of reality. In The Law of The Jungle, how are a represen- tative structure and audiovisual style used to provide illusion of reality? And how real are viewers' watching experience that approaches others' real lives in various layers? These questions are this paper's issues. When we discuss realism, a dictionary may provide many definitions for the word reality. But this paper discusses a sense of the real about The Law of The Jungle, according to illusive reality concept that puts emphasis on immersive viewing experience to space, time, and characters. The real world of reality tv such as The Law of The Jungle depends on how to create presence and aura of a reality independent the so-called external world. Therefore, because the illusive reality of reality tv is quite similar to theatrical illusions that audiences regard a real space, time, and people as a dramatic space, time, and characters by the conventions of the theater, this paper defines The Law of The Jungle's representative reality as performing reality, and, will discuss its entertainment and documentary functions. As a result, through analysing the reality effect of reality TV The Law of The Jungle, this paper will contribute to reality television study as a case study about performing the real in reality tv. In addition, this paper will provide a academic stimulus for image literature study concentrating on a fictional drama.
초록
본 고는 해방기 아메리카 영화론에 초점을 맞춰 탈식민의 문화 기획 과정에서 조선 영화가 추구했던 영화의 구체적인 내용과 형식을 탐구한다. 해방기에 아메리카 영화가 중요한 이유는 아메리카 영화가 미국의 점령지에 대한 문화 정책의 일환으로 조선에 유입되었기 때문이다. 중앙영화배급소는 아메리카 영화를 배급·상영하는 거점 역할을 함으로써 본격적으로 해방기 조선 영화와 문화를 침식해 왔다. 그러므로 해방기 아메리카 영화는 그것을 둘러싼 담론의 지형 안에서 조선 영화가 민족 영화 혹은 민족 국가 성립을 위해 어떠한 노력을 경주했었는지를 보여 주는 중요한 사안이었다. 이 점에 입각하여 본 고는 구체적으로 중앙영화배급소를 중심으로 하여 점차 조선의 영화 시장을 독점해 나가던 아메리카 영화에 대해 조선인들이 대응한 양상을 담론 중심으로 분석한다. 그리고 이를 통해서 조선인들이 아메리카 영화의 상업성과 오락성에 대응하기 위한 전략으로서 민족 영화 예술을 호출하고 민족·국가 성립을 위해 조선 영화가 어떠한 방법으로 제작되어야 할지를 고민하는 과정을 탐색한다. 한편으로 이러한 모색의 과정에서 제작된 해방기의 영화와 기행문 등을 통해서 과연 탈식민의 문화적 기획으로서 조선 영화가 모색한 민족 영화가 진정한 탈식민의 길로 나아갔는지를 분석한다. 여기서 조선 영화가 상상했던 민족·국가 그리고 ‘조선적인 것’은 냉전과 신탁통치 및 ‘제국-식민’을 상정하지 못한 채 소박하고 이상적인 차원에 머물러 있었으며 ‘아메리카’를 최종 승인하는 문제를 야기했다고 평가한다.
Abstract
This article focuses on the American movie theory in the period of the National Liberation to explore the concrete contents and forms of movie that the Joseon movie pursued in the course of post-colonialist cultural planning. The reason why American movies were important in the period of the National Liberation was that American movies were imported in Joseon as a way of America’s cultural policies for her occupied territory. The Central Film Distribution Office undermined Joseon’s movies and culture in earnest by playing a foothold role in distributing and showing American movies. Therefore, the American movie in the period of the National Liberation was an important issue that showed what efforts the Joseon movie made to establish national movies or a national state in the geography of discourses surrounding it. Drawing on this point, and focusing on the Central Film distribution Office, the article analyzes the aspects of Joseon people’s reaction to American movies that proceeded to monopolize Joseon’s film market. Moreover, through this course, it explores the course of Joseon people’s evocation of national film art as a strategy for coping with the commercialism and entertaining properties of American movies and their reflection on how Joseon movies should be produced for the sake of the establishment of the nation and the state. On the other hand, with the moviesand travel essays created in the course of such reflection, this article analyzes whether the Joseon movie as post-colonial cultural planning proceeded toward the way of true post-colonialism. Here, we can evaluate the Nation, the State, and ‘things that are Joseon-like’ as staying at a naïve and ideal dimension and causing the problem of final approval of ‘America’ while unable to considering the Cold War, trusteeship, and ‘imperialism-colonialism.’
초록
요리대결만화는 식욕이라는 삶의 일상성과 만화의 문화적 일상성이 대결이라는 드라마적 구도를 통해 만나는 장소다. 본 논문은 요리대결만화들이 ‘맛의 추구’라는 주제를 어떻게 재현하는지를 분석한다. 요약하자면, 맛의 재현과정에서 쓰이는 첫 번째 기법은 식재료의 뛰어남을 강조하는 것이다. 두 번째 기법은 조리 기술의 묘사다. 세 번째 기법은 평론가들의 품평이다. 이 세 가지 기법은 설득적으로 맛을 제시하는, 맛의 객관적 묘사다. 텍스트에서 가장 맛있는 요리는 주인공의 정성이 담긴 요리이다. 정성의 요리는 개인적인 추억과 느낌에 근거해 요리의 맛을 제시한다. 따라서 이는 맛의 주관적 묘사다. 맛의 객관적 묘사 기법은 연재 과정에 있는 만화의 분절된 텍스트 사이에 개연성을 불어넣으며 오락성을 획득하게 한다. 모든 연재분이 모인 전체 서사의 향방을 가늠하는 장치는 주관적 묘사 기법이다. 선한 주인공은 승리 후 악한을 조건 없이 용서한다. 따라서 텍스트의 세계는 이야기가 시작되는 지점으로 퇴보한다. 이 결말은 두 가지 해석을 낳는다. 하나는 요리대결만화를 음식이라는 기호를 통해 궁극적인 용서와 화해를 보여주는 것으로 읽는 것이다. 또 하나는 자본의 논리를 암암리에 유통시킬 불온한 가능성을 지닌 텍스트로 읽는 것이다.
Abstract
The Cooking-Showdown Cartoon is the site where the life of food and the cultural life of cartoons meet in a dramatic confrontation. A Cooking-Showdown Cartoon's plot gains plausibility only if its method for representing taste is persuasive. We can therefore expect Cooking-Showdown Cartoons to have the most advanced techniques for representing taste. This paper analyzes how Cooking-Showdown Cartoons represent the ‘pursuit of taste’ and investigates how this technique corresponds with the overall theme of Cooking-Showdown Cartoons. In brief, the first technique for representing taste is emphasizing the quality of the ingredients. Showing the difficulty involved in obtaining these ingredients serves to emphasize the taste of the dishes made with them. The second technique is emphasis on skill. Using his culinary skills, the hero is able to defeat the villain who uses superior ingredients. The third technique is the function of the food critics, who with their refined palates and moral bearing act in these texts as mirrors of taste. Since these techniques are objective descriptions of taste, we can call it an ‘objective representation of taste.’ The final and most powerful technique employed in Cooking-Showdown Cartoons is food from the heart. It is the hero's good and true heart that enables him to defeat the villain who otherwise has the same skill level. These foods can persuade the readers by appealing to subjective values like the heart or memory. This technique can therefore be called a ‘subjective representation of taste.’Cooking-Showdown Cartoons have a serial system and thus have serial text. The objective description of taste plays a central role in these serial texts, lending them probability of plot and making them entertaining. The whole text of Cooking-Showdown Cartoons comprises a dramatic plot that has a stable-instable-stable structure. This process shows the final showdown between hero and villain. The most important and powerful technique for representing taste is the subjective representation at this showdown. Although the plot follows a melodramatic trajectory, the finale of Cooking-Showdown Cartoons is unfulfilled, since the villain is invited to the final festival. We can find no development in the whole text. The world of Cooking- Showdown Cartoons regresses to the first situation in the plot. The finale of Cooking-Showdown Cartoons can have two results and qualities, depending on one's point of view. First, it can be read as an ultimate forgiveness narrative. In this case, Cooking-Showdown Cartoons are very positive texts. Secondly, according to a different viewpoint, it can be read as a tool to distribute capitalism. This is because the world of the finale is exactly the same as the world in which the text begins, where capitalism dominates the world with violence.