20권 3호
초록
한국 영화에서 근간 가장 문제적으로 ‘기억’되고 있는 과거는 ‘1980년대’이다. 1980년대는 단순하게 상품화되기에는 버거운 폭력적인 정치현실의 상처를 지나치게 많이 내포한 시기라고 할 수 있다. 2000년대 초반까지 ‘1980년대’를 다룬 영화들은 정치 현실을 완전히 소거하여 복고적인 패션 아이템으로 시대를 소비하는 코믹 영화와 정치성을 전면에 부각시킨 진지한 드라마로 양분되는 양상을 보였다. 최근 한국 영화에서 ‘기억’되고 있는 ‘1980년대’는 이처럼 양극화되었던 관점으로부터 벗어나 대중적인 타협점을 모색하고 있다. <써니>와 <변호인>은 그러한 시도가 가장 성공적으로 대중의 욕망과 접합한 작품들이라고 할 수 있다. <써니>는 1980년대의 정치적 상황을 고등학생의 시점에서 새롭게 풀어냄으로써 1980년대를 다루는 정치적 ‘엄숙주의’를 조롱한다. 그러나 1980년대 대중문화 아이콘들을 통해 ‘향수’를 자극함으로 수많은 대중을 매료시켰던 이 영화의 서사 전략은 자본주의와 가부장제를 옹호하는 방식으로 구성되어 있다. 그 결과 이 영화는 당대의 정치권력에 가해졌던 비판의 주체들을 희화하고 기존의 권력 구조를 옹호하고 유지하는 데 기여한다. <변호인>은 1980년대를 배경으로 소시민의 정치적 각성과정을 보여주었다. 그 과정에서 실존 인물, 실제 역사와의 관련성을 의도적으로 소거하고 개별화된 주체의 서사가 아닌 보편적 영웅 서사로 치환하였다. 이 영화에 대한 대중적 호응은 ‘자수성가’식의 성공 신화에 대한 보편적 향수와 ‘지금, 여기’의 현실 정치에서 결여된 민주주의 가치를 열망하는 대중의 정치적 무의식을 반영한다고 볼 수 있다.
Abstract
The most controversially reminisced past in the recent Korean films is that of 1980s. ‘80s carry too many scars from violent political realties to be easily commodified. Until early 2000, the films on the ’80s showed the pattern of diverging into comedies consuming the periods as retro-style fashion items san the political realities and serious epics with explicit political themes. The ‘80s remembered in the current Korean cinema seem to overcome this divergence and seek a more popularized compromise. Sunny and The Attorney made the must successful contacts with the desires of the mass. Sunnyridicules the political austerism of the 80s by reconstructing the period from high school students’ perspectives. Yet its narrative strategy of invoking a nostalgia through the ‘80s’ pop-cultural icons ends up defending capitalism and patriarchy. As a result, this film mocks at the critics of the contemporary political powers and contributes to defending and maintaining the status quo. The Attorney follows the footsteps of a petit bourgeois’s political conscientization in the ‘80s. In the process, the nexus to the historical persons and events were intentionally abandoned so that an otherwise personal narrative was transformed into a the heroic narrative structure. Massive enthusiasm to this film represents both the mass’ subconscious political aspirations for democratic values deficient in the politics of “here and now” and the universal nostalgia for the success stories of self-made riches.
초록
Abstract
Reply 1994 stimulated nostalgia of its viewers by restoring the scenery of 1990s in details and was a huge success. However, while the past was reorganized with the fantasy about eternal love and passion, and the idealized images of hometown and family, the unique characteristics of the times of 1990s failed to go beyond the level of a background, and the critical mind about the social issues of those times was omitted. On the other hand, the narration whose amount had markedly increased consisted of universal and philosophical contents and seemed to console its viewers, yet disguised itself as the one with privilege recollecting an era. As a result, 1990s retrospected in Respond, 1994 have left among us as if it's the general "correct answer" to remember that period, but eventually it relies on the impaired and partial memories of “the survived.” This soap opera has played such a great role to actively include 1990s into the area for remembrance, but simultaneously, it's been asking the fundamental question of how we should remember 1990s.
초록
이 글은 텔레비전드라마 <응답하라 1994>와 <나인>의 사례를 통해, 최근 대중문화 영역에서 두드러졌던 ‘90년대’에 대한 향수 현상이 특정한 세대적 주체를 문화적으로 주형하는 기획과 맞물려 있음을 검토했다. 지금 ‘90년대’에 대한 향수는 후근대의 시간성의 위기뿐 아니라 집합기억의 서사화를 요청하는 세대 담론의 특정한 맥락과 결부된다. 현재 대중문화에서 주도적인 영향력을 행사하고 있는 ‘90년대 세대’는 대중문화의 기억 산업과 공모하는 방식으로 ‘90년대’라는 청춘의 시간을 공간화하고 자기 세대의 기억을 서사화하려는 의지를 드러내고 있다.
Abstract
This paper tried to examine the recent phenomenon of nostalgia for 90s in popular culture as the cultural project to form the specific generation subject, through analyzing the cases of Reply 1994 and Nine. This phenomenon is related to the current context of generation discourse that requests the narratives of generation’s collective memory as well as to the post-modern crisis of time concept. 90s generation, who expand leading influence in popular culture, attempt to spatialize their youth of 90s and to make narratives of their own memory in collaboration with memory industry in popular culture.
초록
Abstract
Continuous publication of novels regarding ‘Gwangju’, which has been a phenomenon for the past few years, can be analyzed in connection with the political crisis in Korea. This thesis analyzes Legato (2012) by Kwon Yeosun and Here comes a boy (2014) by Han Gang which call for Gwangju Uprising as an important force in narrative, and aims to explore the way that enables bringing ‘Gwangju Uprising’, which has not been finished yet, to the present. ‘Gwangju’ in Kwon Yeosun’s Legato functions as an opportunity for the generation of so-called elite people who already have stable social status but participated in the movement back then to reflect their present and past. The fact that this novel summons ‘Gwangju as a superego’ is quite meaningful in that it harshly criticizes the fault and hypocrisy of the generation with movement group background through the author’s unique indicative. The damaged body of Jeongyeon who came back alive from the scene of Gwangju after nearly 30 years points out the violence of the present memory which tries to fossilize Gwangju as a historic event. Han Gang’s Here comes a boy is a novel which is concerned with the ultimate way of reproducing the tragedy. Usually, novels regarding Gwangju reproduce the tragedy of Gwangju through describing the damaged body of the dead or the painful souls of those who survived. On the contrary, Han Gang’s Here comes a boy tries to reveal the horrors of Gwangju more accurately through reproducing the tragedy by depicting the voices of the painful souls of the dead or describing the physical humiliation of survivors with the device of ‘impossible to testify’. Furthermore, Here comes a boy is meaningful in that it tries to deliver the testimonies of young boys and girls, and female workers who were not able to tell their stories fully in other existing novels. The accomplishment of Here comes a boy would be noticing the individuality of pains through resisting the movement of understanding and making the history of Gwangju as a mere anonymous collective tragedy. The meaning and possibility of bringing Gwangju to the present could be reconsidered through these novels which fill the gap where the existing narratives failed to cover.
초록
이 논문은 2013년 한국 뮤지컬장에서 집단적으로 호출된 김광석이 개별적으로 콘텐츠화 되었던 양상을 조명하기 위해, 동시대에 제작된 김광석 뮤지컬 세 편이 벌였던 경합의 풍경을 관찰하고 이를 작품의 미학적 양식과 연동시킨다는 방법론을 동원했다. 세 편의 뮤지컬들은 김광석의 신화적 가치를 프로덕션의 규모와 사업적 전략에 따라 개별적으로 구매하고, 이를 작품의 아이디어에 맞게 재맥락화했다. 작품을 견인했던 아이디어는 ‘김광석 노래의 보편성’(<바람>), ‘김광석과 친구들의 영속적인 우정’(<그날들>), ‘김광석 시대의 낭만성’(<디셈버>)이었고, 이것을 불화하는 현재가 과거를 추억하고 그 이후 새로운 현재를 맞이한다는 공통된 내러티브로 구체화했다. 각 작품의 미학적 양식은 이러한 내러티브가 완전히 개별화되는 핵심 요소였다. 그리고 그 미학적 양식의 차이를 결정한 것은 김광석 콘텐츠의 저작권 구매 범위의 차이에 놓여 있었다. 즉, <디셈버>의 NEW가 김광석 콘텐츠를 퍼블리시티권에서부터 미발표곡까지 독점한 상황은 <바람>과 <그날들>의 저작권 구매에 결정적인 영향을 주었는데, <그날들>은 이에 따라 김광석 가창곡의 원작자들에게 모두 편곡 동의권을 구매하여 자작곡을 제외한 가창곡만 활용했으며 <바람>은 저작권 구매가 가능한 가창곡과, 원곡과의 동일성이 최대로 유지된 자작곡을 자의적으로 사용하는 선에서 김광석 노래를 활용할 수 있었다. <그날들>과 <디셈버>가 적극적인 편곡을 통해 노래의 구조와 배치를 변화시킨 반면, <바람>이 어쿠스틱 콘서트의 양식으로 최대한 김광석 원곡에 접근하려 했음은 저작권 구매력에서 이미 결정될 수밖에 없었던 결과였던 것이다.
Abstract
This paper looks into the competition of Kwangsuck Kim’s three musicals and uses methodology to connect the fierce competition with aesthetic styles in order to highlight how Kwangsuck Kim’s songs were individually appropriated into the three musicals, which have been collectively used in Korean musicals in 2013. The three musicals have separately paid for Kwangsuck Kim’s the larger-than-life value in accordance with the production scale and business strategies, and recontextualized the value to suit the ideas of the musicals. The ideas that drove the three musicals were: “The universality of Kwangsuck Kim’s songs”(Wind), “The everlasting friendship between Kwangsuck Kim and his friends”(Those Days), “The romanticism during Kwangsuck Kim’s era’(December), and these ideas were materialized in a common narrative. That is, the main characters are discontent with the present day which summons the past, and then they welcome in a brand new reality. The aesthetic style of each musical was the key element through which such narratives were thoroughly individualized. And the decisive factor to determining the differences among the aesthetic styles laid in the scope of purchasing the copyright contents of Kwangsuck Kim. In other words, the production company of December NEW monopolizing Kwangsuck Kim’s materials from the right of publicity to Kim’s unreleased songs had a decisive effect on purchasing the copyrights of Wind and Those Days. Therefore, Those Days purchased the right to consent to make musical arrangements from the original writers of the songs, then only used the songs purchased excluding the singer’s original songs. While the Wind used the songs by purchasing the copyrights and the arbitrary arranged songs which contained the maximum conformity from the originals. While Those Days and December have transformed the songs’ structures and placement through an active arrangement, Wind’s pursuit to approach Kwangsuck Kim’s original songs for as long as possible in the form of an acoustic concert was an inevitable result already determined with the copyright purchasing power.
초록
This paper argued characteristics of the memory politics on the 1980s, focusing on the problem of the democratization movement and generation subjectivity. I explored the structure of memory politics which cast between state, people and elite-memory- subject by examining the movie <변호인> and <26년> such popular films and the memoirs written by Ryu Si-min and Kim Young-Hwan, Kim Myeong-in and etc.. The official memory of the democratization movement has frame "Awakening - join - struggle - hardships - overcome - win - compensation - formulation - reconciliation". Today, it is confronting against "polarization of politics and ideology". The recognition of the 80s' of the 386(486) generation make aware of themselves as World-historical individuals because of the experience of the rise and downfall. But it continues distorting by their self-centrism.
Abstract
초록
본고는 <문화→ 문화콘텐츠→ 콘텐츠>라는 명명의 변화에 주목해 문화가 국가의 기간산업이 된 역사와 의미를 짚어냈다. 본고는 문화에서 문화콘텐츠로 넘어가는 데 1997년 외환위기에 주목했고 문화콘텐츠에서 콘텐츠로 넘어가는 과정에서는 한류라는 이름의 문화상품 호황에 주목했다. 외환위기를 겪으면서 한국은 자본의 축적 전략을 뒷받침하는 쪽으로 국가체제를 가시적으로 재편했는데 문화도 적극적으로 호명되었다. 처음으로 국가적인 차원에서 문화산업화의 필요성에 주목한 것은 세계화를 정부의 구호로 내걸었던 김영삼 정부였으며 특히 ‘IMF 체제’와 맞물리면서 문화산업은 경제회생을 위한 미래형 산업으로 각광받았다. 이 시기에 오늘날까지 통용되는 문화산업의 역할과 필요성에 관한 수사는 완성되었다. 이후 한류가 전개되면서 문화는 국가의 기간산업으로 자리매김했다. 인기 있는 문화상품들이 한류로 집약되었고 정서적인 민족주의와 물리적인 기술의 발달은 자본의 축적 전략을 지원했다. 궁극적으로 본고는 자본이 국가화, 국가가 자본화되는 현상 속에서 문화 및 문화연구의 가능성을 타진하고자 했다.
Abstract
This study focuses on the transition from 'culture' to 'contents' in korea since the late 1990's. Culture industry has become the one of basic industries because of the economic crisis in the late 1990's. A new Korean coinage, 'culture contents' derived from Korea Culture Content Agency(KOCCA) which was founded in 2001. KOCCA was transformed to Korea Creative Content Agency(KOCCA) in 2009. The word, 'contents' has become in common use up to the present. The transition from 'culture' to 'contents' represents the industrialization of culture and the popularity of 'Korean wave'. This study discusses the capitalization of the state in neoliberal age focusing on the progress of culture industry as basic industry in Korea.
초록
Abstract
This study analyzes two of Park, Beom Shin’s latest work, Eungyo and Trifling Landscapes. Released in 2010, Eungyo became a big issue as it brought up to the surface the biological aging of humankind and the sexuality of elderly. Released in 2013, Trifling Landscapes is different from Eungyo in terms of subject matters, but it can also be interpreted on the same extent as it dealt with the desire of a student and teacher for writing and the conflicts of desire and love among three men and women. Eungyo depicts the exclusive love of human beings who are destined to be confined in the limited calibration of time, while Trifling Landscapes shows the original form of love born by free beings in the causality of time. In this respect, it is valid to say that Trifling Landscapes both extends and exceeds Eungyo. The focus of Eungyo is the problem of human existence suffering between the natural aging of physical body and the sexuality that never ages and the agony of a person who struggles between the desire to substantiate himself through literature and the lack of natural talents. Eungyo depicts the exclusive love that eventually leads to destruction three people who have their unique ways of love, while Trifling Landscape depicts the collective love of free entities that are not confined to body and time. The triangle of three people in Eungyo all about jealousy and conflicts, while the triangle of three people in Trifling Landscape shows the original form of love that is possible just because it is a triangle. This is possible because Park’s premise is that love is the deep understanding to reach the essence of the other, beyond narcissism. The collective love in Trifling Landscape is also the aesthetic completion of art. The plot of Trifling Landscape, where the inside and outside of the epic intersect without being confined by the causality of time, also matches the internal flow of the story that deviates from all conventional ethics and norms.
초록
한국영화사에서 ‘한국형 SF’라 특정할만한 범주화된 영화들을 선별해내기란 쉽지 않다. 일단 제작된 SF영화의 수 자체가 상당히 적다. SF영화는 오랜 기간 동안 ‘공상과학영화’로 지칭되며 아동의 전유물로 간주되어 왔다. 이러한 분위기는 드물게 수행되었던 한국 SF영화 연구에도 고스란히 반영되어 있다. 이들은 1960년대에서 1970년대 초반에 이르는 SF영화의 특징을 ‘괴담·괴기’, ‘가족·아동용 SF’, ‘해외물 모방’으로 간단히 설명하고 만다. 이에 본 연구는 1960년대 등장한 한국 SF영화의 기원과 출현, 그리고 전개 과정에 관심을 둔다. 연구 대상은 한국전쟁 후 최초의 한국 SF영화로 알려진 <투명인의 최후>(이창근, 1960)를 시작으로 하여 1970년대 중반까지 등장한 ‘과학자 영화’들이며, 이를 변별적 장르로서 ‘고딕SF영화’라 범주화할 것이다. 1950년대 미국과 영국의 B급 공포·SF 영화의 제작, 수입의 영향 하에서 한국에서도 새로운 SF영화가 만들어지기 시작한다. 초기에는 『투명인간』이나 고딕소설인 『프랑켄슈타인』, 『드라큘라』의 설정을 차용한 것으로 보인다. 이에 인기연극 「사랑에 속고 돈에 울고」(1936)나 이광수의 소설 『개척자』(1918)에 등장하는 누이-오빠 서사나 연애삼각구도, 식민지 시대이래 형성된 소년 모험 서사, 식민지 시대의 원한 등의 요소가 혼합되어 한국적 고딕SF만의 특징을 구축해 나가게 되었다. 한편 한국의 고딕SF 영화에는 고딕소설이 빅토리아조에 대해 그러하듯이 과거(제국주의 시대)에 대한 향수와 복고적 회고가 반영되어 있기도 하다. 외딴 곳의 대저택에서 자행되는 미치광이 과학자의 학살의 실험에서 가까스로 빠져나온 젊은 남녀는 악한 아버지(나쁜 과학자)를 처단하고 선한 아버지(착한 과학자)의 승인 하에 새로운 가족을 이루게 될 것이다. 이러한 서사적 변화는 광포한 근대화를 경험하는 대중들의 불안이 점차 완화되고 과학적 계몽이 보편화되면서 점차 고딕SF영화의 불온성이 순치되는 과정과 맞물린다. 1967년에는 괴수가 등장하는 실사영화인 <우주괴인 왕마귀>(권혁진), <대괴수 용가리>(김기덕)이 등장한다. 1968년 <황금철인>을 시작으로 1970년대가 되면 <번개아텀>(1971, 용유수), <로보트 태권브이>(1976, 김청기) 등 아동 SF 애니메이션이 본격적으로 창작되기 시작한다. 1970년대 중반 이후로는 심령과학을 다루는 영화들이 등장하는데, 이즈음 고딕SF영화는 호러 내지 오컬트물로 이행해가게 된다. 그렇기에 과학자가 등장하는 한국의 고딕SF영화는 1960년대 후반을 정점으로 한 1960년대적 장르였다.
Abstract
Mad Scientist's Laboratory and Imperialistic Nostalgia— The Study of Korean Gothic SF Films in the 1960sSong, Hyo-Joung (University of Seoul)It is very difficult to distinguish the “unique” SF films in Korean film history. Once they were in a decided minority. In addition, for a long time SF films were regarded as a exclusive property of the child. This article deals with the origin, emergence and development of the Korean SF films in 1960s. In this study, I have concern about Korean SF films by and large from 1960s to early 1970s. The objects of study are placed from the first Korean SF The Last Invisible Man (1960) to Scary Double Human (1974). These films have revealed a gloomy laboratory of a lunatic scientist in common. The event usually occurs in a remote mansion, villa or hospital. I called them “Korean Gothic SF” films. Under the influence of horror films of United States and Britain exploited films in late 1950s, new Korean genre films began to be made. At first, they imitated a little bit of The Invisible Man (1897), Dracula (1897), Frankenstein (1818). At the same time, they applied the Korean motives, for example tear jerker narrative (Sinpa, 新派), adventure story of anticommunist boys and resentment-revenge story. Sometimes imperialistic nostalgia was reflected in the Gothic SF films. They were a cinematic reaction to the atmosphere of the Third Republic in Korea that was accustomed to order and standardization. It turned out through the negativity, sadism, melodramatic excess and grotesquerie. Although there were scientists handling modern science for example botany, medicine, life sciences, Korean Gothic SF films are characterized by regressive moral emotions and resentment which dates back to the colonial era. When it was in the early 1970s, gothic SF film had faded and occult films for adult and animations for children began to appeared. So Korean Gothic SF films were obviously the style in 1960s.
초록
이 글은 1970년대를 대표하는 계간지 『문학과지성』의 동인이었던 김병익의 대중문화론을 중심으로, 1970년대 문단과 그 기반으로서의 4.19세대의 자의식과 감수성에 대한 기존의 논의구도를 극복하고자 했다. 김병익의 대중문화론은 지금까지 엘리트주의, 보수주의, 문학주의 등의 키워드와 함께 논의되었던 『문학과지성』의 감수성과 세대의식을 다른 각도에서 보여준다. 그는 기본적으로 대중문화를 저속하고 퇴폐적이라고 비판하는 당시의 지배적인 관점을 전복시키지 않으면서도, 대중문화의 퇴폐성과 저속성을 비판할 때조차 그 근원을 엘리트문화의 타락과 상업주의에서 찾음으로써 대중문화를 주류 엘리트의 문화와 결합시키는 새로운 관점을 보여주었다. 또한 대중문화를 근간으로 하는 청년문화에 대해 더 많은 자유와 평등을 가시화시킬 수 있다는 점에서 옹호하는 태도를 보였다. 무엇보다도 그가 대중문화에서 근대적 시민의식에 기반한 문화민주주의를 발전시킬 가능성을 찾았다는 사실은, 4.19세대의 문화적 감수성이 더 많은 자유와 평등을 사회적으로 실현시키고자 하는 지향성 속에서 정초되었음을 보여준다.
Abstract
Kim Byung-ik's Discourse on Popular Culture and Cultural Democratic Consciousness of 4.19 Generation Song, Eun-Young (Yonsei University)This essay was intended to get over the established frame on 1970s' literary fields and 4.19 generation's identity and directivity by analyzing one of the main members of Literature and Intellectual, Kim Byung-ik's discourse on popular culture. His essays and articles on popular culture in late 1960s and 1970s, showed a new perspective on Literature and Intellectual dealt with in terms of elitism, conservatism and literature-centrism. Although he agreed with the ruling discourse to criticize popular culture's vulgarity and lewdness, he supported the Youth Culture based on popular culture because it helped to realize the more freedom and equality. He didn't separate popular culture's vulgarity with elites' commercialism. His announcement that popular culture would help a development of cultural democracy, proved that 4.19 generation's cultural directivity stemmed from their desire to realize political freedom and social equality.
초록
Abstract
A Birth of new human species and the evolutionary imaginationOh, Youn-Ho (Ewha Women’s University)This study takes a close look at Frankenstein, a science fiction written in the early modern era by Mary Shelley, and Transcendence, a 21st century film directed by Wally Pfister, to identify how scientific knowledge is utilized to create new human species in the cultural context. Also, the study identifies and analyzes changes in evolutionary imaginations stemming from the development of new technologies and scientific knowledge ranging from evolutionary theory to quantum dynamics and nanotechnology. In this study, the author attempted to take a fresh approach to science fiction to reach a conclusion that cultural plots that cut across the fields of science and fiction are not always fake and fictional but can be reasonable and futuristic. Through this observation and analysis, the author tries to present a new vision for anthropology based on humanities in the 21st century. Human evolution in this context does not merely mean biological evolution. Evolution functions as imagination and knowledge that are important to understand humanity amid rapid changes in our society and technology. The concepts of natural selection and survival of the fittest that underpin evolutionary theory take new perspectives and logics depending on cultural, historical and scientific contexts. Human evolution illustrated in Frankenstein and Transcendence may be the realization of human desires for immortality and tragic nature that is intrinsic in science and technology. Evolving into immortal beings has been the longest dream of mankind. Now, it has become a possibility that may come trun in the future.
초록
Abstract
Early modern ‘dramatic novels’ are distinctive narratives combining the characteristics of speech, meeting, novel, and drama. A ‘dramatic novel’ represents in the novel a conference or meeting propagating the messages of enlightenment to an audience through broadcasting the characters’ speeches and meetings realistically as if actors perform on the stage. This unique style of narratives emerged in the late 1900s when all public speeches and assemblies for common people were prohibited through political oppression including the promulgation of the National Security Act and the Publishing Act. Early modern ‘dramatic novels’ are largely divided into those representing speech meetings and those representing the scenes of meetings. Some remarkable characteristics of ‘dramatic novels’ such as Geumsuhoieuirok, Gyeongsejong, and Mangukdaehoirok, which borrowed its motif from Geumsuhoieuirok in another boom of new novel writing in the 1920s, are ‘the plot of frame within a frame’ and the relief of the physicality of speaking. ‘The plot of frame within a frame’ is a product from combining the characteristics of allegorical novels and speech meetings. The outer narrative, in which the narrator explains how he came to observe the speech meeting of animals and how he was impressed, contains the inner narrative describing the scenes of the speech meeting, and the inner narrative again contains the animals’ speeches within another frame of the opening address and the closing address. In addition, through physical motions resembling actors’ performance on the stage, the scenes of animals’ speeches make the readers feel as if they themselves are in the scene of the speech meeting. That is, by inserting rhetoric expressions asking or answering to the audience and the audience’s physical responses such as laughter and hand clap here and there, the story induces the readers to feel synaesthetically collective affects happening in the scene of the speech meeting. ‘Dramatic novels’ representing meetings pursue double purposes: one, educating the readers on the rules and proceedings of meeting, and the other, asserting the necessity and justness of meeting. Depending on its characteristic, meetings are divided into those emphasizing rules and procedures and small‐size talks. Byeonginganchinhoieuirok, Cheonjunggajeol, and Geumsujaepan belong to the former, and Jayujong to the latter. Both of the two types maximize the effect of learning and the effect of enlightenment through using the plot of frame and spotlighting the bodies of meeting. Byeonginganchinhoieuirok and Cheonjunggajeol form a sequential structure, which organizes and integrates opinions and reaches the final agreement through the meeting rules. Geumsujaepan also adopts a sequential structure, reaching a rational conclusion according to the meeting rules and judiciary proceedings. Due to its characteristic as a small talk, however, Jayujong has a distinctive structure combining sequential and parallel structures, in which the pattern of ‘presentation of agenda → free expression of opinions → closing’ is repeated. A commonality of ‘dramatic novels’ representing meetings is that they foreground the physical norm that the meeting proceeds according to the rules with blocking narrator’s intervention as in a drama scenario and using meeting terms such as motion, second, and carry through direct speech. Such a meeting scene plays the role of a textbook for teaching the readers on the proceedings of meeting in which the participants reach an agreement through meeting rules and principles.
초록
Abstract
Haksaeng Gwahak, which stands for ‘the only science magazine for young adults’, was published in 1960’s. Science Fictions in the magazine are very important in the history of Korean literature. Park Chung-Hee administration made science policies including new national ideology. Space race overseas in 1960’s also inflated scientism. Haksaeng Gwahak followed policies of the administration very positively. Seo Kwang- oon, O Min-Young, Kang Sung-Chul and Yi Dong-Sung were main writers in the magazine. They reflected atmospheres of the time when they created novels. The new wave of scientism triggered ‘young soul’ and built a huge fantasy empire. In their science novels, heros emphasized scientific armament and never allowed science repression. There always was utopia in the end of stories instead of dystopia. The wave became more stronger when scientism was combined with patriotism. The idolization of General Yi Sun-Shin is one case of scientific patriotism in Park Chung-Hee administration. Novels continuously showed science-sociology applying to the space age. When a new type of novel, which allegorically attacked mindset of older generation, appeared in the end of 1970’s, Haksaeng Gwahak faced a turning point.
초록
Abstract
My purpose is to discuss the form and acceptance aspect of food documentary television, examining the Korean Table. Basing on these findings, my goal in this paper is to outline its characteristics of popular culture from visual ethnographic perspectives. This paper thus attempts to identify the taste culture's performativity with impact on reality construction as a mediated popular culture. In other words, an exploration of how audiences construct their identity through watching the mediated Korean tastes is examined in our discussion. In this article, I will endeavor to elucidate the significance of food in popular culture. focusing on the issue of a cultural approach to television culinary programs. Moreover, I wish to address a new approach to a rapid surge of television cooking shows. In the present paper, we shall first consider four documentary forms of the Korean Table as the foodmentary, that is, expository, observational, reflexive, poetic documentary forms. So, I will provide an framework for the transparency of experiential realism related with Korean food in the Korean Table. Secondly, we shall analyse audience acceptance. On foodmentary characteristic, it is important for audience to learn an argument for historical, social truth of Korean food. Yet, through imaginatively deconstructing, reconstructing body's limits by making and eating the Korean food, audience responses with desiring to become other beings are stimulated. Finally, this study purports to reveal the importance of emotion and memory in order to cognitively fabricate the Korean food as wanting something to eat. This structure functions as strong incentives for constructing the Korean Table as audiences communicative events. Emotionally experiencing or remembering the traditional cooking skill of Korean grandmothers and old ladies provides a key motivation for audience's imagining television screen as table. Nevertheless, this paper is to make explicit that Korean Table's images as traditional table are too convenience commodities for selling preindustrial life styles. The reason for this is that audience watching and feeling for real people, real emotion, real memory related with Korean food are themselves strategic rhetorics for constructing cultural reality.