23권 1호
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Abstract
The territory of “drama” has broadened since the creation of web services. Television dramas have also attempted to shift to the form used by web dramas, as many other styles of art have done. The purpose of this article is to explain how web services have tried to corner the drama market based on the strength and size of their user base. The purpose of Korean web dramas is to deliver new kinds of entertainment to people while dealing with themes that have not been considered before and making use of the conventional features of traditional TV dramas. It is important to consider the relationship with viewers and the media hierarchy, but it is apparent that the discussion can be oversimplified if web dramas are simply regarded as an extension of TV dramas. This is why it is important to look at how dramas are constantly changing and expanding, while “dramas” are also being mixed with other new media. While a new phenomenon is being created in the clashing between the producers’ intentions and the users’ desires, the status of the changing modern media field is not controlled by the complex systems in place. “drama” as an art form seems to be expanding by itself, constantly floating the complex web. The web drama <DramaWorld> shows us how the circumstances of TV dramas have changed and become quite different to the way they are perceived by conventional media when they are produced through the web. This aspect is clearly highlighted in web contents involving games. It can be assumed that web contents in the style of “drama” are made and consumed in an attempt to shift away from the conventional style of TV dramas. In this regard, dramas expanding onto the web can be a meaningful reference point that provides insight into how to imagine and explore the role of modern society and the individual in it.
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This study aims to discuss aspects of Korean Webtoon Studies and find the points that emerge for humanities and social communities. Webtoon platforms have changed, and webtoon stories and storytelling strategies have advanced, so studies on them need to be more complex. Summaries of webtoon studies are provided to characterized the diverse nature of the research. Topics include using webtoons for educational purposes, comparing Korean webtoons with those of other countries specific points about webtoons readers (consumers), topics and themes of webtoons, and copyright and legal activities related to making webtoons. The discussion also covers teaching how to read webtoons, topics and themes of webtoons, and the too concentrated studies of webtoons(special creators, works). Thus, this study makes two suggestions as follows: first, researchers should locate more special creators' and their works(webtoons) so that more studies can be published. ; second, researchers should consider 'mania' readers-what they wish to read in the texts. In conclusion, there are positive and negative points : in previous studies. Thus, other researchers can find more points to address through this study. However, some effective approaches and points of view, such as 'remediation' have not been covered in existing research. Such points may be addressed in future studies.
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This study considered the creation, distribution and consumption system of Web Novels and their narrative form on major websites, investigating the effects that Internet media and mobile devices have had on novels. Web Novels are based on existing ‘Internet Novels’ and genre novels. However, thanks to the creation, distribution, and consumption of Web Novels in the systematic web platform market, the class of authors and readers of Web Novels has been expanding. Thus, Web Novels have undergone a variety of transformations and become an changeable branch of fiction. When the simultaneity and immediacy of creation, mediation, and acceptance - which are characteristics of Web Novels - lead to competition and a blatant market focus, Web Novels come to be valued as goods rather than literary works. Accordingly, considering interest and readability(legibility) as the first priority, on the one hand, the narration of Web Novels follows the custom of genre novels, while on the other hand, such novels take a form that is suitable for mobile devices. The plot depends on the interest and tension of each episode rather than close correlation, and the paragraph structure is destroyed. Characters are portrayed via audio-visual imagery, usually by making use of icons, illustrations, and dialogue scenes. The description of time and space is often left out, and the event is narrated by a character - focalizer, with a concentration on characters’ actions. In this way, Web Novels are destroying the value and form of traditional novels. The utility of novels is moving toward consumer goods of interest and pleasure from the media of reflection and enlightenment. In addition, Web Novels are valued in terms of emotion above perception. Thus, the form of Web Novels has been transformed to combine various contents, thereby shifting away from the traditional aesthetics of narration, which supports a well-organized structure and seeks to deepen and maximize the language function.
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The youth-focused policy of Kim Jong-Un’s government is distinctive, as it is publicized and emphasized more actively than that of the previous Kim Jong-Un government. This government is publicizing youth-focused theory and policy extensively through the media and frequently propagating political performances that reflect it. On Chosun Central TV, which is North Korea’s public media, propagation broadcasts are employed for the active reflection of “youth-focused thought,” and coverage on youth policy has recently increased. In addition, the form of “youth” that was recently idealized by the Kim Jong-Un government is repeatedly evident in the broadcasted contents. This thesis focused on the idealized youth model and its political implications in relation to contents broadcasted by the Kim Jong-Un government, which can be seen as a general narrative trend in Chosun Central TV programs broadcasted after Kim Jong-Un seized power in North Korea. Therefore, the Kim Jong-Un government is aware of the subject youth and shows a tendency to try to change the narrative form along these lines. From the perspective of contents, the young generation is represented on the surface of the narration by modern images through the symbols of scientific technology, apartments, cultural facilities, however, the deep layer of narration plainly shows a political intention to embrace the desire unconditionally as a public ethics despite the appearance of private desire.In other words, the subject youth tends to be surrounded in the narration of the Kim Jong-Un era. Therefore, the Kim Jong-Un government extensively represents the young generation as social subjects through the media according to the youth-focusing policy, but young people themselves do not become authentic subjects through this narration. This represents a problem for representation. Discussing the phenomenon whereby the ideal youth model recently set up by the Kim Jong-Un government is repeatedly represented on TV media through narration, this thesis considers that this phenomenon disproves the view current political compulsion toward private desire germinated in the young North Korean generation by the Kim Jong-un government should be embraced by public ethics. It can be argued that the real conditions of the young generation are different, reflecting worries about their change in identify under the Kim Jong-Un regime. In other words, it implies that the Kim Jong-Un government is using changes in the young generation as the appearance of private desire originating from indications of social class differentiation, and with the generational model the government wants to delay the social change as much as possible. So, the calling for youth as a social subject on TV media in North Korea is just a surface phenomenon. However, it is necessary to pay attention to the start of this social shift. This year, an exceptional film from North Korea depicting a young man who realizes his individual dreams and ideals by transcending the fate determined by the communist party was released on TV and mass media. This can be seen as an expression of concern about how Kim Jong-Un’s government should include the desires of the young generation in particular.
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The purpose of this study is to consider the popularity strategy evident in the comic book. The <Mysterious 33rd Door> from the 1970s. It analyzes The <Mysterious 33rd Door>, a popular comic book series, and identifies the charact eristics of the series and why it gained public popularity. The series adopts the “Jeoksseonhagang” structure. This structure to make it easy for readers to enjoy. Another narrative structure is the “Sinmageomhyeop” structure, which represents a sub-genre of a chivalry novel. Thus, it would have been appr opriate for the Muhyeop cartoon to borrow. Both the chivalry novel and comic books share the same distribution methods; thus, it represents a strategy for commercial success. Moreover, the narrative structure repeats itself in the works; this is suitable for extending the narrative with the knight-errant story. In addition, it stimulates readers' curiosity through non-uniform changes. Finally, it includes three showdown episodes, three amulets, three brothers, and three pouches, motifs that will continue to increase the curiosity and attention of the readers. This is called a triple auxiliary element, and it is often used in folk tales. This is a result of securing public interest in the commercial strategy. Thus, a strategy for securing public confidence was found. It is meaningful that the reason for the popularity was identified, and this creates a starting point for the study of Daebonso comics.
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This article examined the role and meaning of space in the movie Doubt. In this article, I considered how the characters’ actions and the flow of events interact with space and implement the message of this movie. The movie Doubt is relatively in terms of limited time and space, characters, and objects, but it generates tension and excitement. The narrative tension that characterizes the work is formed through the fierce and persistent conflicts and confrontations of the characters, and it is constructed by the space in this work and the meaning of the props that fill the space. The cathedral, the principal-saint room, and the classroom, which are the main spaces of the film, highlight the narrative existence of each of the three main characters. Other places, such as restaurants, access roads, and gardens, also play an important role in the film narrative. These spaces in this movie are imbued with meaning and elements like power, conflict, hierarchy, and discipline. The development of the narrative of the movie Doubt is a spatial composition and arrangement. From the point of view of the story, the frequency, rhythm and order of the appearance of specific places, such as the church chapel, the principal-saint room, restaurant, and garden is very effective. The narrative of the movie Doubt is constructed through the symmetrical, cross-over arrangement and composition of space and objects.
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This article examines a few cases of apocalyptic postmodern representations, such as apocalyptic subjects and incantation devices, and traces the social conditions and the political feeling of contemporary Korean people, which has drawn this phenomenon. Since its modernization, Korean society has suffered from a series of events that have caused social trauma. Art plays a key role in dealing with social trauma through its artistic representation. Art has dealt with social trauma in Korea in two ways. First, it has used an accusing representation that has a clear political direction; second, it has used imaginative representation, which focuses more on the narrative side. These two representational methods depend on modern attitudes. However, as many of contemporary disasters have arisen from modernity itself, a noteworthy representational method that is different from established modern representational trends is emerging; this relates to the absence of narrative-centeredness, the emergence of the post modern subject, an apocalyptic atmosphere that envelops both the cinematic setting and the protagonist’s mode of behavior, and the use of incantational tools to cure the trauma. Considering these tendencies, labelled “apocalyptic postmodern representation” here, this article examines the specific disasters resulted from Korea’s social precondition and the structure of political feelings of the Korean people.
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This paper examines the 198090s revolution of the Korean independent film is embedded in the movement from the film to the film Contact. respond to the possibility that the connection the films is continuous solidarity of the 1980s. Chang, Yun-Hyun’s idea of reading the possibility of the 1980s in PC communication was combined with Myung-Film’s planning. This made the film Contact. By delaying the encounter between the lovers, bravely broke the traditional narrative. , it showed the first production model by paying a fair fee for film music. It also posed the aesthetics of Asian film upfront instead of the spectacles Hollywood films, provocatively attempting to redistribute aesthetic of Asian . In the process of the Korea filmin other words, in the process of South Korean movies becoming independent from capital and powerand the aesthetics, were forced to re-encounter the wandering ghosts of others. efining the ghosts and illuminating the new relationship with reveal the particularities of Korean. ’, which a new connection with the other was obviously an important force in the growth of independent film. The capital provided the audience director from the independent film scene. However, capital specter entangled oppression of the past and aspirations the future. In the sense that, and above all because it on the border free from responsibility, it close to the specter-others. The basis of possibility Contact 1990s independent film be found in two opposite vectors. One is new relation with capital, the other is representation of new social movement. these two factors have been commonly cited as proof that cultural movement and new social movement liberalized since 1990s. However the planning process in Contact was different. Shim, Jae-Myung and Shim, Bo-Kyung also mediated the rationality of capital and refreshed the old agenda in 1980s. Through Contact, they tried to experiment the possibility of commercial film as a method of new social movement by inventing necessary for sustainable society.
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This paper tried to analyze the research tendency of domestic science fiction(SF) in the 1960~1970's. The subject of study is SF writers' club's work, particularly Seo Kwang-oon's science fiction. These works were published by the magazine of Science for Students. Therefore, SF writers' club's works were classified as science fiction for adolescents. The paper studied why the gap between SF writers and readers emerged. It explained this in that domestic SF in the 1960~1970's experienced and identity crisis between fiction and real science. Therefore, SF writers' club members described space wars in the context of war on Earth, for example in 6ㆍ25 or the war of Vietnam. SF writers of Science for Students also considered writings on telepathy or the supernatural as superstition and doubted that it would be science, as well as denying the therapy of neurosis, psychiatry. Science fictions include new scientific technique, but the new developments were often refused. Domestic SF was confused by the conflict between science and superstition.
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This study is about Miwa Kentaro's Comics and Cinema: Theory of Panels and Time (2014). The aim of the essay is to find address the question of whether comics are cinematic. Japanese comics actively use encoded images; in addition, they convey messages and stories briefly and quickly. For a long time, most Japanese comics research was centered on the comic’s unique expression mode. The origin of this direction in Japanese comics was New Treasure Island (Tezuka Osamu, 1947). Some comics scholars have appreciated that Tezuka Osamu's direction was innovative and cinematic since 1990s. Now, many scholars argue that “cinematic expression” is characteristic of Japanese comics. Miwa reconsiders and criticizes various preceding studies. Furthermore, he adds his own new theory. As a result, he newly describes the features of comics' expression not as exhibiting a "cinematic method" but as representing "cinematic style." This article examines major theories of the history of expression in comics. Beyond this, it considers Miwa's appraisal of these theories and his theory on "panels," "gaze," and "time." Finally, it presents an analysis of the cinematic style of New Treasure Island. Miwa’s theory incorporates diverse analyses and considerations. In addition, he adds a new perspective to preceding studies on the question of whether comics are cinematic. This article demonstrates the significance of Miwa's book in the context of the theory of expression in comics.