대중서사연구
- P-ISSN1738-3188
- E-ISSN2713-9964
ISSN : 1738-3188
Vol.21 No.1
Abstract
This paper explored an podcast broadcasting “Naneun Ggomsuda” and “Naneun Ggomsuda phenomenon” under the following two premise: “Naneun Ggomsuda” and “Naneun Ggomsuda phenomenon” made a democratic crisis in the level of everyday life clearly, and also showed new possibilities for the democracy in Korea. This paper aimed to analyze the meaning of “Naneun Ggomsuda” in the context of cultural contagion instead of in the context of innovation of new media technologies linked with an extension of the media area. For this purpose, This paper focused on the effect of destroys the language conventions and the significance of the ‘gossip/noise’ in “Naneun Ggomsuda”. I tried to find out a proper criticism strategy from “Naneun Ggomsuda” in this era of uncertainty. “Naneun Ggomsuda” has been shown the subversive politics. But It confirmed the limitations of the satirical humor by rapid cooling of the “Naneun Ggomsuda” phenomenon. Finally, rapid heating and cooling of “Naneun Ggomsuda” phenomenon confirmed the emptiness of critical language in this society.
Abstract
This study aims to explain the problem of mode of perception in media moving images of Sewolho catastrophe. The growth of technology and the popularity of internet, social networking, YouTube and video sites have changed the media landscape. Especially, Sewolho catastrophe watched a variety of media moving images with persistent pain, mobile image data be transmitted from victim of disaster. It is important for main agents of visual recognition to gain an insight on unidentified media moving images. This study is focused on two documentary, KBS TV <Dream of 18 years old , 3 class 2 year, Danwon-high school> and Fuji TV <The truth of Sewolho disaster>, tried to investigate the realization of the way of image composition and the audience`s acceptability in current affairs documentary program. The purpose of this study was to diagnose the roles of and problem with the disaster coverage of media moving images by analyzing the function and context of mobile image data on Sewolho catastrophe, according to the documentary form and contents features. These two documentary lets us know not only about the heart-rending tragedy of disaster but about the unreliability of the way in which information is presented in the media and how we cannot trust what we see, and shown that ventilation of our situation and ethical question about technological advancements and visual system.
Abstract
The purpose of this paper is to analyze the Jajangmyeon motif in the Korea public narrative by focusing on the movie <Almost Che>. This paper especially focused on the way to enjoy 1980s' Korea culture by jajangmyeon. Mr. Kang who delivers Chinese food with a Steel Container speaks nonsense words continuously to Miss Seo who is a female college student. And Miss Seo also speaks nonsense words continuously to Mr. Kang. Their linguistic playfulness is comic caricatures that they can't communicate each other. But their linguistic playfulness shows the power of colloquial language transcending the limits of logical thoughts as the final outcome. Paradoxically, they proved the possibility of communication by their linguistic playfulness. To conclude, <Almost Che> shows the public power that impossibility changes into possibility by Mr. Kang who loves Miss Seo. In the movie, <Almost Che> recalled the strike affair with occupying the American Culture Center in 1985. And <Almost Che> fairly succeeded restoring 1980s' Korean society that has been forgotten by the public now. It revealed the Korean political situation and the anti-American sentiment of Korean university students in 1980s. Although they have been forgotten fast, they are still the important past history.
Abstract
Punch, a family melodrama, was released in 2011 and achieved a better-than- expectations success at the box office. It is a recent phenomenon that a family melodrama has ranked high in the box office record. This paper aims to probe for the meaning of Punch in the light of the rise of the family melodrama in Korea’s film industry. Punch can be said to make an important turning point in terms of film industry. In this paper I search for genre and social meanings of the phenomenon that family melodrama has become a full-scale hit genre. Also will be discussed what the lower class subject and the multiculturalism presented in the film mean to the audience and how the nostalgia factor is utilized for commercial success. Having been through the times of the post-IMF system, neo-liberalism and the neo-conservative administrations, we have witnessed the box office success of family films, nostalgia films and films featuring heroes from lower class, which had not been well fit for Korean film industry’s code of commercial success before 2000. Nowadays the Korean society produces and circulates not just films but general mass cultural products with reactionary and nostalgic features. This paper traces the origin of the tendency of Korean films since Punch, a 2011 hit film, through the over-10million- viewer films in 2015. I will analyze Punch critically and try to understand how the masses express their ontological anxiety as social beings in their enthusiasm for certain films.
Abstract
Lyrics of popular songs convey the meanings and symbols that are important in that era because they are produced by the collective efforts of song writers, consumers, critics and distributors. This paper analyzes the semantic structure among keywords contained in popular song lyrics. Three hundred popular songs are compiled, one hundred each from 60’s, 80’s and 2000’s for social network analysis of keywords. Major findings are the following. 1) the most central keyword has always been ‘love’ regardless of the period the song was written. 2) During 60’s, natural phenomena such as rain, mist or lakes appeared frequently. Yet they disappear almost completely and replaced by English words like ‘nobody’ or ‘baby’ from 80’s. 3) The number of unique words increases rapidly over time and the mode of expressions became diverse. 4) The whole network structure changes from a radial type to a chain type indicating that the relative centrality of ‘love’ is weakened, although they the most important in each period. 5) Sentiments of longing for hometown disappears gradually, and scenes related with ‘drinking liquor’ become frequent.
Abstract
The purpose of this study is to investigate the aspect of time transcendence, its implicit emotional motive and symbolic meaning from recently released Hollywood SF movie narrative. Narrative access to virtual time or space through a scientific fiction has stimulated an expectation and belief about the potential possibility of human being that was not yet implemented. Science fiction, which has played a pivotal role as a spearhead with establishing a full-scale genealogy from 19th century, deeply inspires many scientists with an innovative hypothesis, metaphors, and the theories to support the hypothesis. However, the reason that this genre could cause a huge social sensation of the time is due to a precise analysis on problems facing the era, and an insight enabled it. Time transcendence in narrative was no exception. Time transcendence as a theme or partial motif, which was borrowed in many works already and built its frame, has been repeated many variations in its history and meaning. Particularly, if 『The Time Machine』 of Herbert George Wells had a classic role in time transcendence genre with building a dystopian world-view on the future landscape and criticizing a moral hazard and an expansion of the capital accelerated by the Industrial Revolution in the end of 19th century, Hollywood has released steadily SF movies related to time transcendence starting from 1960s, and leads a time transcendence narrative genre in the 21st century with the superior imaging technology and time-based discourse. For example, a series of works released since 2010, like Source Code」(2011), 「Edge of Tomorrow」(2014) and 「Interstellar」(2014), have inherited the spirit of times and will diagnose the upcoming future with different scientific motifs & alternatives, along with self-reflection.
Abstract
A body is a core which goes through modern times. This thesis intends to read Daeha (Large river) with the discussion of modern bodies. Hyeong-geol, who is a main character in Daeha, expresses his modernity by his body. 'School athletic meeting' shows the physical exercise and competition as modern spectacle. Also it pulls cognitive alteration about bodies as modern symbol. We have to pay attention that it involves effects to reorganize modern amusements and to exhibit them. So this thesis analyze 'school athletic meeting' as a modern educational system, and considers its effect to embody characters of Daeha. So we can analyze Kim Nam-cheon’s Daeha as the text which shows a change from a thinking body to a exercising body.
Abstract
<Deceived by Love, Despaired by Money>(1936) and <The Power of Mother> (1937) are the most successful pop drama in the late 1930’s in colonized Joseon. These works are called kisaeng–domestic dramas(妓生-家庭劇) dealing with problematic situation after kisaeng’s marriage. The paper is to show those characteristics and those places in the history of popular arts, comparing with ‘Shinpa domestic dramas’(新派-家庭劇) in 1910’s and ‘tragic love dramas at the red light district’(花柳悲戀劇) in 1920’s-1930’s. The narrative of kisaeng–domestic dramas following the style of melodramatic representation, reveals excessive rhetoric, caused by contradictory situation of depressed ‘truth’ and desire to express. In the dramas, kisaengs are the good struggling to maintain chastity and the persons holding the kisaeng down are the bad. The dramas focus on traditional individual moral such as chastity in women and love for family in men, compared to ‘Shinpa-domestic dramas’ focusing on social moral such as fidelity and empathy. The dramas highlight newly optimistic emotion such as pride and hope, compared to ‘tragic love dramas at the red light district’ focusing on pessimistic emotion such as grief. In kisaeng–domestic dramas, the bond daughter-in-law between father-in-law represents the patriarch conspired by the colonial policy of Japan. In this respect, The kisaeng-domestic dramas as melodrama is not only the myth of forces upholding patriarchal ideologies but also the moral rhetoric revealing the colonization strategy of Japan.
Abstract
This study focused on the creation and consumption of contents through web space by mass, and investigated the narrative features of Korean web novel. The web novels adopt the multimodal characteristics of web in the process of remediating the traditional novels. By analyzing the form and content of web novels, this study investigated how the medium specificity configured the narrative. For web novel, it is published on a regular basis with certain amount of text. The basic configuration requirement is literal text, however at the same time it actively adopts the multimedia signs which involve visual and auditory senses. This study tried to reveal that the web novel is related to Korean traditional narratives in terms of the ways of publishment and narrative configuration. Through this, this study tried to explain the reason web novel appeals to the public. On the other hand, this study noted that the web novels adopt various topics, genres, and motifs which had not been covered in the Korean traditional or serious literature. This study investigated the convergence phenomena in form and content derived from adopting and selectively combining the practice of genre Literature. Futhermore, this study analyzed the narrative meaning of this phenomena. This study premised that these aspects of creating and consuming a narrative through the multi-sensory representation in the web space are derive from the requirements of the digital mass. Thus, this study analyzed the form and content of web novel, and by deriving the narrative characteristics it also tried to prove that web novel is an alternative popular literature of digital era.