대중서사연구
- P-ISSN1738-3188
- E-ISSN2713-9964
ISSN : 1738-3188
No.30
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.’
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.
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.
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
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.
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.’
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.