대중서사연구
- P-ISSN1738-3188
- E-ISSN2713-9964
ISSN : 1738-3188
Vol.21 No.3
Abstract
This paper brought forward from the question, why were too so many novels that made issues of the bad woman, against the novels on race, class, labor, ability were not in the novels of 1950s. Why the novels of 1950s, in particular way, was connected with narrative justice as ‘bad’ to the category of ‘gender’? Upon investigation, ‘bad woman frame’ was implicated in narrative justice as ‘bad’, and also the problemes of justification of inequality. Made an additional remark, this paper examined ‘bad woman frame’ was connected with the perpetuating state of exception and global Cold War system. The typical objects, pointed out ‘bad woman’ in the novels of 1950s, were madame freedom, foreigners’ whore, female agent, femme fatale. They had something in common, appropriated as gender among several categories about justification of inequalities. In these processes, the issues as the categories of freedom, labor, nation-state, salvation were eliminated. The ways of the Cold War-aesthetics were the easiest one which South Korean Novels selected. They proved some distinct characteristics of South Korean ways as ‘Cold War capitalism’ and ‘patriarchal society’ in 1950s.
Abstract
This paper presents an investigation into the theatrical planning strategies of TV entertainment programs. It examined what kind of narrative strategy TV entertainment programs were using to commune with the viewers and achieve their intended goals and effects with three entertainment programs representing the three terrestrial broadcasting stations, Infinite Challenges, One Night, Two Days, and Running Men. The characters of TV entertainment programs are built based on the accumulated communication among the production staff, cast, and viewers. The old characters are strengthened or new ones are created as dramatic events are placed to fit each character and induce responses from the viewers. That is, characters are organic beings that go through a cycle of creation, change, and extinction through the communication among the many different subjects. The viewers accept a dramatic situation as if they were experiencing it right now through familiar characters. They get to feel that the fictional worlds of entertainment programs are the stories told by all the people of contemporary times instead of something separate from them. That feel of companionship creates a third effect when the viewers return back to their realities from the fictional worlds. Like in the cases of reflection on the problematic reality in Infinite Challenges, provide culture information in One Night, Two Days, and development of tourist products in Running Men, they accept an entertainment program as their own thing and get the driving force to change the reality. Those findings indicate that TV entertainment programs are a form of dramatic art to offer fun and laughs, communicate with the viewers, and speak to the reality by utilizing the theatrical attribute of ultimately stimulating their internal changes through communion as a narrative strategy.
Abstract
This study was conceived by a question about the interactions between the strict censorship system and the mass production of movies that stirred a obscenity controversy from the latter half of the 1960s to the early 1980s. Trying to answer this question, the present study paid attention to the dynamics between the texts called censorship documents and the representation structure of movies. Censorship documents themselves found and revealed the areas that were tabooed in the name of control and were on the premise of voyeuristic imaginations about the concerned scenes. In other words, requests to cut out the scenes of body exposure or intercourse seem to have been made bureaucratically mechanically on the surface, but the imagination, which reorganized only the concerned scenes in the context of “obscenity” regardless of the meaning structures of the entire movies, worked behind the requests. They were a pattern of fetishism, which overestimates certain body parts or scenes and gets obsessed with them, and followed the same line as the operational method of pornography in a voyeuristic fashion to look into them only. Such an operational method is usually put into practice in the process of communicating with the movies that make a request for censorship, which means that the viewpoints and dynamics are reflected in the film texts. Reflecting them, the movies are aware of the viewpoints and dynamics and make responses accordingly. What the censorship authority and film production companies put forward on the surface was always “ethics” and “art,” though. A third viewpoint that perceives according to such a cause also gets involved in interactions between representation in movies and censorship. Those three factors made up the dynamics of censorship and representation of sexuality and created a mechanism of coexistence between strict control and pornographic imagination. It was Lady Ae—Ma in the early 1980s that displayed such an imagination in the form of representation intensively. While promoting a conservative theme on the surface, the movie reveals a fetishistic pattern through pornographic representations filled with voyeurism and fetishism. Such representations became a classic in the “Lady—” series and worked as a convention in Korean sex movies for many years. In short, the convention of Korean sex movies called “eroticism movies” since the 1980s was the pattern of perversion and division stemmed from the political power’s retrogressive suppression of sex movies and discourses that emerged in the latter half of the 1960s.
Abstract
This study purposed to examine formation of ‘Sunjung’ and “Sunjung Manhwa”. As is commonly said, Sunjung Manhwa is affected Shojo manga of Japan. It might not be totally ungrounded, but it established fact what was an overly schematized. It caused which did not understand about Sunjung and Sunjung Manhwa. Therefore this study purposed to consider from complex birth of the genre what “Sunjung Manhwa”. In the first, this study searched look up the usage of the word on ‘Sunjung’. ‘Sunjung’ also used word which innocence is emphasized in the colonial period. Emotion word on ‘Sunjung’ is authorized to femininity for gender as girl was discovered . Manhwa magazine’s publisher think the girl as reader is expected. They bring over Sunjung as media-strategy. Sunjung and Manhwa get complicated as one genre. At this time, it get rid of love in narration of Sunjung, remain only ‘purity’ and ‘sensibility’. ‘Sensibility’ is Shin-pa in popular arts in the 1950s and girl as heroine is immanet passive femininity in gender. This is can discovered the originate in girl novels in colonical korea in 1920-30’s. These girl who appeared in girl novels were character which a poor condition, a disciplined, a dependent. This is keep a while since Um Hee-ja’s appearance in 1960’s. Therefore we have to know that layered in the course are formed to simply can’t compare as shojo manga in japan.
Abstract
This paper examines the modern soundscape of theater and gramophone to prove that ‘vividness’ was recognized originally by the experience of gramophone, not by live performance in theater. by 1900 in Seoul, performance on the street and in the market was banned. When the first theater opened in the middle of Seoul, people regarded the sound of theater as ‘noise.’ They complained about the noise which continued over midnight in the theater. Every evening, the loud sound of the instruments like jing(gong), kkwaenggwari (small gong), Taeppungso (bugle) resounded in the city. When the sound of theater was got used to, another sound began enchanting the citizen. The gramophone gave an amazing spectacle at first. People thought and felt the sound were vivid, despite its sound were bad actually. And according to the development of sound reproduction technology, people regarded the reproduced sound as the original sound. Also, the sound of gramophone was thought and felt as the immortal. The faith in the immortality and perfectness of the gramophone was the faith in the modern technology virtually. And it was towards the distant future, which the modern technology would bring in someday.
Abstract
The film <Snowpiercer> deals with the general issues like the class discrimination or national system rather than the social issues of Korea. In the last part of the movie, the director suggests a mythological future in contrast with the reality. This is where <Snowpiercer> is different from his previous works. Therefore, the film is worth further detailed analysis on the mythological imagination and an ideal world system. The three mythological elements represented in <Snowpiercer> are, 1) Cycle and Repetition, 2) Death and Rebirth 3) Co-existence of humans and animals. Cycle and Repetition are portrayed in the image of circular track of train set against the start and the end of ice age. The circular track of the train is similar to the motif of ring in Northern European mythology. Death and Rebirth can be explained in Ragnarok. The whole world is doomed as scheduled but not completely. Yonah and Timmy are the symbols of the new beginning. The Co-existence of humans and animals are the characteristic of primitive myth. The film aims at the equal co-existence of a human being and a bear. All these elements are interrelated in Moebius strip. So far, the films by director, Junho Bong, have been discussed focusing on his view of social issues and political value, and how his films have reflected such reality. It is necessary to put his film <Snowpiercer> in a new perspective with a new interpretation which is based on mythological analysis. Further studies on his films <Mother> or <Monster> may lead to a general understanding of the director’s mythological imagination and his view of the world.
Abstract
The hybridity of various instruments in the contemporary music reconstructs music production and reception. The paper aims to investigate the relationship between the agency of Analogue Synthesizer, and the production and reception of Kid A by Radiohead based on actor-network theory. The structure of the paper is as follows. In the second chapter, it analyzes the operating principle and the interface of analogue synthesizers-Ondes Martenot, Modular System-used by Radiohead and explains materiality of the instruments. In the third chapter, the paper analyzes how the agency reassembles performing, composing, recording, and concerts of Kid A by regarding the materiality of analogue synthesizer as the agency. Through the investigations, the paper shows that the introduction of analogue synthesizer brings about new method of playing and composing, the division of recording space, the post-conventional performance and even the mode of reception. The paper reveals that the proper agency of various non-human agents are closely related to the new practice and experience of contemporary music.
Abstract
This paper studied the magazine Hackwon which had been anything to read in the 1960’s. The magazine Hackwon furnished long genre novels, such as brightness novels, detective novels, science fictions through series-novels. And the magazine Hackwon published series-novels to the selective masterpiece collections. That strategy of the magazine Hackwon made the reading-wind to rise, and helped genre-writer’s birth. Hackwon published science fiction and detective fiction abroad differently from Arirang and Myeung-rang. Especially, the hard-boiled detective novels and pulp-magazine works of the same age in America flowed in. There were not a Leblanc’s detective novel which was classic of the detective novels and translated the most in the colonial period. Together with the national strategy which stresses on science-education, science fiction was read by the mess of vivid science-news and scientific knowledge and scientific common sense in Hackwon. The detective novels and science fictions divided by the conspiracy-degree country with an ideology in Hacwan. One is that the enemy is a personal, the other is that the enemy is a country. Therefore, science fictions are related with the ideology, the security, and the educational strategy of a nation. Genre novels in Hackwon for adolescent were not diffused to the adult genre because of enlightenment through the ideology and the educational strategy of a nation. But Hackwon helped the division of genre such as detective novels and science fictions, with providing long novels to read in the 1960’s.
Abstract
Nakagawa Hiromi’s work The Transformation of “Girl” Image Seeing through Girl‘s Magazine: How the Comics Represented “Girl” is a discourse on a concept, “girl” which was formed since modern times. An image of “girl” has been transformed by several media of Japan. Furthermore, this image of “girl” symbolizes part of Japanese culture. Until now various studies of “girl” have been progressed and that is what a discourse of “girl” image is an important reason. A history of “girl” started from “female student” which was derived from an operation of public education. In addition, “girl” has a very special image which was created by “girl’s magazine.” Nakagawa Hiromi analyzes and criticizes synthetically discourses on “girl” which was explained by several scholars after a study of Honda Masuko. By extension, she made an attempt to analyse “girl” in the shojo manga. The “girl” in the comics has been excluded from studies on “girl” by this time although that is very important. Therefore, Nakagawa’s study has a great significance in that it led the “girl” in the comics out into the field of serious “girl” discourse. This book review points out a few of problems of Nakagawa Hiromi’s analysis on “girl” and presents new discourse on “girl.”