대중서사연구

Abstract

This paper examines SF comics produced by female cartoonists in the 1990s to uncover the narrative features at the intersection of Sun-jeong manhwa and SF. A common theme among these comics is their portrayal of encounters with nonhuman entities. Therefore, this paper focuses on how nonhumans such as aliens, robots, androids and genetic mutants, were represented and plotted in SF Sun-jeong manhwa. Nonhumans are often depicted in human-like forms. This is primarily a result of the genre’s emphasis on aesthetics of capturing the characters’ hidden emotions. Due to this emphasis, nonhuman characters tend to resemble humans and seamlessly integrate into human society, thus avoiding typical sources of conflict. In addition, the melodramatic expression of emotions and the romanticism associated with yearning for unity with the other, which are considered essential narrative elements of Sun-jeong manhwa, provide a foundation for accepting nonhumans as akin to humans. The tragic romanticism found in SF Sun-jeong manhwa exposes social conflicts and injustices such as the abuse and exploitation of nonhumans. The sentiment of love, which extends one’s own suffering to encompass that of others, fosters acceptance of nonhumans as valid entities. In other words, SF Sun-jeong manhwa envision nonhumans as beings worthy of mourning and portray their deaths as mournable, so they advocate for a politics of inclusion and mourning for nonhuman entities through aesthetic expressions that highlight the precariousness of their existence. However, the encounter between Sun-jeong manhwa and SF has its limitations in that it does not lead to the development of various solidarities with nonhumans. Instead, it often focuses on narratives that demonstrate nonhuman’s humanness, ultimately reducing the genre to a form of human drama or failing to affirm differences with the other. Nonetheless, it can be argued that the SF Sun-jeong manhwa presented a preemptive possibility of moving towards posthumanism by transcending the instrumental relationship between humans, machines, and life. Such an assessment may offer insights into the role and influence of 1990s women’s comics in shaping a distinct genre of SF in South Korea.

Abstract

This paper seeks to characterize the underground city created in response to climate catastrophe as an ecotechne city, to examine the biopolitics that governs it, and to find meaning in the technological adaptations and resistances that the city's citizens, especially the youth, exhibit toward the ecotechne city. In the process, I will examine the speculative fiction features of Moss Forest and the conditions and possibilities of an ecotechnological critique of Korean science fiction in the 21st century. "The Moss Forest depicts a climate catastrophe that forces humanity into the underworld, where they build a city and live in it. The surface is nature itself, damaged by the climate catastrophe, and a lost paradise for humanity, and the underground city is humanity's only refuge in the midst of the climate catastrophe. Completely disconnected from life above ground and believing that the memories of the sky and sea may be fake, the citizens of this place wake up in the morning to a perfectly technologically reproduced eco-friendly state and enjoy an 'artificial nature' and 'artificial paradise'. "The underground city recreated in Mossy Forest is a biopolitical space planned and controlled by technological capitalism. In this city, only children selected for birth control are born and raised, and like Soma in The Wonderful New World, they live in the underground city and 'work' to buy VA2X, which makes them not crazy. If you get injured while working, you can replace your body with the body of a pre-made clone, and you can also buy a human voice and make it your avatar's voice. In this environment, the citizens of this underground city go on a labor strike, and the six young people in the story try to adapt to life in the city with their own brand of solidarity and love, but their love is thwarted by the city's ultimate fate. Soma escapes the dystopian underground city with a clone of Yuo and reaches the Moss Forest, where he exposes the violence of the underground city's bio-politics.

Abstract

Abstract

The bodily motion and dialog of Slam Dunk's characters have become a long-standing trend among readers and audiences, and it's an ongoing trend. The characters in Slam Dunk, with their black motions and Asian faces, and the power of the male fanbase to resonate with them and share this resonance with women, suggests that the affective forces surrounding Slam Dunk are intimately connected to issues of racialization and gendering. Based on these considerations, this article seeks to map the transnational affective geographies of bodily motions, revealing them as assemblages of objectification, racialization, and gendering. As NBA commissioner, David Stern and his colleagues combined the most favorable aspects of black and white representation through the image of Michael Jordan. Jordan's contradictory image as a symbol of basketball also influenced the way Slam Dunk was represented. The tracing representation of Slam Dunk is a technique that maintains the NBA's affect as embodied through the bodies of black men, while iconographically erasing traces of blackness. Ultimately, this representation works together to deprive racialized individuals of the potential they may have as political agents, from the technology of sport coupled with patterns of bodily motion. On the other hand, Korean basketball players, who could be said to be characterizations of Japanese "hard body", were transformed into "soft body" as they were attached to the affect of hate towards the "Oppa band". This is a hierarchical way of gendering and infantilizing the object of hate. This generational problem is a historical fault line. The heyday of basketball in South Korea coincided with the decline of the student movement. Yonsei University, where the players who were part of the basketball festivities belonged to, was also in the spotlight for the "Hanchongryon(Korean Federation of Student Councils) demonstration". It is the affective economy of hate that unites and perpetuates the "Hanchongryon" and "Oppa band". The meanings and affects of bodily motions have been and will continue to be contingent, racialized and gendered as the terrain of pop cultural politics shifts and overlaps. The ongoing transformation of bodily motions should therefore be noted as a manifestation of the changing relationship between popular culture and everyday life, and the racialized and gendered (re)arrangement of global assemblages.

Abstract

From the perspective of 'exile criticism', this paper attempts to reveal that Heo Jun's novel Jandeung., as a return narrative, is a work that shows the paradoxical situation of exiles who cannot but realize the impossibility of returning to his homeland despite having returned to his homeland, through an analysis of the narrator's journey of return. The discussion in this paper can be summarized as follows. First, Jandeung. indirectly depicts the fate of the refugees who had to flee Manchuria and struggle to return to their homeland due to the change in historical circumstances brought about by the collapse of the Japanese Empire, and the painful collective memory that the Korean migrants in Manchuria had to go through, through the unfortunate life narrative of the 'cousin and uncle' clan, which is recalled through the memory of the the narrator, 'I' on the return journey as a refugee in a state of homeland loss. Secondly, Jandeung. reminds us of the possibility of compassion for the suffering of others through the 'I' who identifies the fate of the residual Japanese, who are bound to be othered in a liberated Korea, with their own fate as othered refugees on the road to return. Third, the 'spirit of the third party', which represents the inner loneliness of being placed outside of the national community despite returning to the homeland, reveals the 'I''s despairing awareness of being a third party in an eternally unstable state, and of no longer being able to return to the stable situation of being in the homeland imagined in nostalgia. However, it has a resistant meaning in that it reveals that the reality of the harsh revolution, which seeks to build a national narrative through the exclusion of the other, is only an illusion.

Abstract

This study examines the recent production and representation of mother-daughter narratives in Korean popular culture, highlighting the distinguishing aspects of these representations from traditional mother-daughter narratives and discussing the significance of their representation and changes. To do so, this paper examines the altered dynamics of the relationship between the "mother and the daughter" depicted in director Kim Se-in's film <The apartment with two women> (2021), focusing on the distinctive portrayal of the "mother" within the framework of existing notions of "motherhood" and "motherhood discourse." And explores the points of differentiation between the representation of the "mother" in the film and the traditional constructs of "motherhood." Traditionally, within social constructs, discussions of maternity have primarily revolved around the relationship between "son and mother," with less attention given to the relationship between "mother and daughter." In previous films that centered on the "mother and daughter" relationship, "motherhood" has often been consumed as a distorted symbol, either pathologized or exaggerated, detached from the actuality of maternal figures. <The apartment with two women> highlights the complex dynamics between "mother and daughter" that were previously unexplored in conventional mother-daughter narratives, showcasing the unstable mother-daughter relationship where the daughter remains entangled with a mother who does not fulfill the socially institutionalized role of a mother. Therefore, this study aims to explore how the new representation of mother-daughter narratives presented in the film <The apartment with two women> intersects with the reality of motherhood and discuss its social context and significance.

Abstract

In this article, we explored the process of converting deep structure into surface structure to extract the narrative grammar of “Geumsijo”. The characters in “Geumsijo” are people who train and wander in order to ‘find’ their artistic soul or something they have not acquired. The key word is the verb ‘to find’ or ‘to find’, and as a result of examining the deep structure and surface structure by converting the verb ‘to find’ into the simplest sentence that is a combination of a noun and a verb, the text of this novel It was found that the core of the deep structure, which consists of the semantic opposition of the act of ‘training (suffering): completion (achievement)’, is variously reproduced and transformed in the surface structure, advancing the narrative. In addition, through the layer that is the ‘text surface’ and the story layer that reconstructs the events placed in the text through time, it was revealed that the actions as relationships with events are presented in a confrontational manner and operate organically in the overall structure of the novel text. The opposites were separation: separation, training (suffering): completion (achievement), and riddle: solution, respectively, and they were operating with semantic discriminative qualities. These distinctive qualities can be explained as a semantic network of ‘finding’ that integrates the artistic theories of Seokdam and Gojuk, which were in a relationship of contradiction and opposition. And the painting of Geumsijo in ‘Geumsijo’(novel) was understood as an icon. An icon can be mainly defined as a sign that refers to an object by virtue of its similarity to that object, and it acts as a signifier through primaryity, that is, unique characteristics. However, for Gojuk, the Chinese character icon called Geumshijo was an object of abstraction that could not obtain its own characteristics. Based on the iconicity that depends on the media format, the iconicity of Geumsijo was developed and interpreted into the realm of sub-iconic metaphors. The two-way conflict between Gojuk and Seokdam was by no means exclusive, but was a ‘search’ for unity to approach each other’s territory. The characters in “Geumsijo” are people who train and wander in order to ‘find’ their artistic soul or something they have not acquired. The key word is the verb ‘to find’ or ‘to find’, and as a result of examining the deep structure and surface structure by converting the verb ‘to find’ into the simplest sentence that is a combination of a noun and a verb, the text of this novel It was found that the core of the deep structure, which consists of the semantic opposition of the act of ‘training (suffering): completion (achievement)’, is variously reproduced and transformed in the surface structure, advancing the narrative. In addition, through the layer that is the ‘text surface’ and the story layer that reconstructs the events placed in the text through time, it was revealed that the actions as relationships with events are presented in a confrontational manner and operate organically in the overall structure of the novel text. The opposites were separation: separation, training (suffering): completion (achievement), and riddle: solution, respectively, and they were operating with semantic discriminative qualities. These distinctive qualities can be explained as a semantic network of ‘finding’ that integrates the artistic theories of Seokdam and Gojuk, which were in a relationship of contradiction and opposition. And the painting of Geumsijo in ‘Geumsijo’(novel) was understood as an icon. An icon can be mainly defined as a sign that refers to an object by virtue of its similarity to that object, and it acts as a signifier through primaryity, that is, unique characteristics. However, for Gojuk, the Chinese character icon called Geumshijo was an object of abstraction that could not obtain its own characteristics. Based on the iconicity that depends on the media format, the iconicity of Geumsijo was developed and interpreted into the realm of sub-iconic metaphors. The two-way conflict between Gojuk and Seokdam was by no means exclusive, but was a ‘search’ for unity to approach each other’s territory.

Abstract

This study discusses Jia's position as an author-insider-observer, cinematic scapes that emerge from it, and its cultural political implications, By analyzing 18 films by Jia Zhangke(贾樟柯), one of China's 6th generation directors. To this end, this study draws on theory of scapes from spatial studies to analyze cinematic scapes as socio-spatial multisensory complexes that are perceived through the intentions and attitudes of individuals within a particular context. Through analysis, this study argues that the scapes in Jia's films are not simply the gaze of an objective recorder, but are utilized as a way to more effectively visualize a sense of space and reality. The duplicity of scapes, especially the use of the mediascapes in his films, becomes an important point of discussion. Furthermore, this study explores ways to (re)think the local, predetermined problematic of "losers" that Jia repeatedly refers to as a cultural political dimension of the non-simultaneous of real and cinematic scapes. To this end, it examines the meaning of the subject-people as both objects of scapes of suspension and as political subjects who constitute scapes of suspension. Finally, the characteristic of Jia's films as scapes themselves also forms an important part of this study. Thus, this study raises the aesthetic and political issues necessary to view Jia's transforming films in the interplay between the artist's shifting position in social space and the changes in socio-spatial space.

Abstract

After the console game era in the 1980s and 1990s, Korea is a leading country that has created and spread the modern e-sports industry since the 2000s. The reason why the early e-sports industry was able to be activated in Korea is that Korea has led e-sports to the sportainment. As e-sports has shown influence in the sports industry and the cultural industry in Korea, many related studies have been conducted. Previous studies mainly focused on research related to the formation of the e-sports industry, and e-sports broadcasting and audience communication. This study is with a sense of problem that research on the content characteristics of early e-sports is needed. This study argues that storytelling is important in the conceptualization and industrialization of e-sports in Korea. In particular, the storytelling strategy of e-sports broadcasting played a key role in the industrial expansion of early e-sports. E-sports is similar to professional wrestling in its nature as a sports and entertainment event. In particular, Starcraft broadcasting, which made a decisive contribution to the popularization of early e-sports, was influenced by professional wrestling's character storytelling strategy in building narrative fun of content and forming a popular fandom. In order to examine the storytelling strategy of early Korean e-sports, this paper examines the background, birth process, and fun elements of e-sports in Korea, and studies Starcraft broadcasting and its storytelling strategies to maximize its enjoyment. Through this, it will be possible to track the significance of early Korean e-sports storytelling strategies on the popularization and spread of the e-sports industry. Through this, it is expected that a different perspective can be presented in the industrialization process of early e-sports and the academic conceptualization of e-sports.

Abstract

The purpose of this article is to elucidate the origins of the worldview based on the irreversibility of history that is prominent in The Youngest Son of a Chaebol Family and how it shows signs of evolution in relation to the web novel as a narrative form. The Youngest Son of a Chaebol Family has a complex narrative that focuses on the protagonist Jin Do-joon's play with the established facts of history. He picks up and utilizes the opposing aspects of global capital versus domestic industrial structure and asset/financial markets, and in the process becomes intricately involved with various historical economic and cultural events of the 1980-2000s. Jin tries to change only the parts of the world that are based on his personal interests in his favor, which has the paradoxical result of making it impossible for him to rule transcendentally despite his omnipotence by regression. He becomes a realistic character in the novel, and through this, he becomes a character that is positioned in the context of history and reality. On the other hand, in The Youngest Son of a Chaebol Family, history, reality, and economic events are not irrevocably conformed to, but instead Jin Do-joon tries to change only those aspects of history that are in his personal and private interest to his advantage, similar to how a player in a role-playing or MOBA game conforms to the worldview and rules of the game to develop the best play. As you can see, this novel is heavily influenced by digital game formats. In this respect, The Youngest Son of a Chaebol Family can be characterized as a sub-imitation, a narrative in which a novelistic protagonist plays out a scenario in a digital game in which history and reality are set in a fictional worldview/rules. Jin Do-joon is located at the intersection of a network that organizes the relationship between various elements of these contents and forms, and at the same time collides with other forms. As we can see, The Youngest Son of a Chaebol Family presents a new style of narrative form based on the bricolage between the existing narrative heritage and the newly emerging digital media, such as the content that incorporates the changed way of accumulation in the wake of the IMF bailout.

Abstract

This paper discussed the popularization process and media strategy of legal discourse, focusing on 『Arirang』, a representative popular entertainment magazine in the 1950s. In the boom of popular newspapers in the 1950s, magazines organized legal discourse in various ways, and 『Arirang』, an interest-based popular entertainment magazine, attempted to induce readers' participation and common sense of the law by conveying readers' stories and sharing legal solutions through the “legal counseling” section based on the “story-oriented editing system.” In addition, he delivered the issue of legal application in reality on a daily basis by serializing “crime truth” as a reading material of fun and reasoning that matches the nature of the entertainment site. The serialization of this segment focused on the difficulties of legal application of marriage and divorce at the family law level and the issue of legislation ignoring reality, while discussing the contradictions of the father-centered law, which led to legal consideration of the family. In the 1950s, the legal discourse of popular newspapers was discussed as part of the nationalization discourse, envisioning the state image of the rule of law by democratic politics against state power. This discourse established the concept of law as the reality of the state and led to the birth of the people as legal subjects. This was preparing 4.19 by driving the motivation for resistance to the eight laws of illegality and lawlessness, and played the role of practical discourse that constituted the subject of the revolution. The concept of the rule of law and the formation of individual legal consciousness were possible through popular legal discourse, and this was an inevitable step in constructing civil identity in the April 19 and 1960s.

Abstract

This paper focuses on direct cinema as an educational material for media education, analyzes the film <Ex Libris - The New York Public Library> and proposes a plan for media education based on it. Frederick Wiseman's creative theory of 'discovery' and 'reconstruction' was applied to the analysis of the film and the design of educational contents. The analysis of the work is divided into three categories. First, the observation of the library ecosystem using the form of 'discovery' showed that sequences and scenes with their own characteristics, such as lectures and meetings, and daily scenes inside and outside the library, are presented, and the camera's role in filming them fulfills the task of an observer. No information about characters or events is presented, the audience is shown naturally, and no movie music is inserted, which shows the characteristics of 'discovery' in direct cinema. Second, in terms of 'reconstruction' to express the director's intention, the long running time, linear time organization, and cross-editing of the three aforementioned types of sequences show how the library is presented to the audience. Finally, in terms of 'reconstruction', the film's main theme is the role of libraries in modern society. Through the meeting scenes and various events, the film reveals that libraries provide educational opportunities for citizens, function as digital hubs, and are responsible for the socially disadvantaged, such as the youth, homeless, and disabled. Based on the analysis of the work, the media education plan is to cultivate the attitude of observation and recording, learn video language, create direct cinema, and derive a sense of theme. The attitude of observation and recording is applied to both viewing and creating media materials, and learners can learn video grammar and apply it to creating direct cinema, and understand the characteristics of direct cinema that emphasizes social themes and derive thematic awareness.

Abstract

This paper offers a critical introduction to Jonathan Crary’s recent book Scorched Earth: Beyond the Digital Age to a Post-Capitalist World (hereafter, Scorched Earth). The theoretical trajectory of Crary’s writings can be broadly divided into a first and second half. The first half employs a Foucauldian perspective to clarify how knowledge, discourse, and power are positioned on the same social plane, while the second half articulates a more globalized critique of capitalism. In this sense, there is a significant discontinuity between early and late Crary. Scorched Earth is organized into three chapters. In Chapter 1, Crary uses the neologism “internet complex” to refer to the inextricable link between the internet and global capitalism while critically examining how the “internet complex” has produced politically powerless subjects. In Chapter 2, he scrutinizes the complicity of technological innovation and global capitalism this process. In Chapter 3, he first critically examines phenomena such as facial recognition and eye-tracking technologies and then analyzes “visual illiteracy,” which refers to a condition where humanity has lost its physical ability to communicate with nature due to its increasing reliance on artificial color. Crary proposes ecological socialism as an alternative. This paper aims to critically examine the achievements and limitations of Crary’s arguments by elucidating the main points of Scorched Earth and discussing the issues he mentions but fails to elaborate on.