• Journal of Korean Philosophical Society
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• v.143
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• pp.215-244
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• 2017

It is said that we live in an age of technology. And indeed, science and technology do play key roles to our life of happiness, but they are equally central in all events that threaten it. Science and technology are the means we often turn to in seeking solutions to our problems, and in turn are often the apparent sources of new problems. Thus it is not surprising that they have two aspects at the same time. CCTV has been presented to us as a technical solution to security problems. With the help of CCTV, we can more effectively prevent, detect, and prosecute crimes. With the help of CCTV, both public and private spaces can be made more secure. But of course, CCTV also has a down side. The down side most prominently anticipated has been loss of privacy and proliferation of surveillance. It is largely this potential problem with CCTV that has been regulated against. It is said that one reason for imposing a limitation on individual privacy is the societal interest in the prevention of crime. Accordingly a balance between the need to prevent crime through the use of CCTV and the duty to respect the privacy interests of individual citizens is in need of redress. In other hand, two theories of socio-political philosophy may have provided useful ways of understanding the role of CCTV in contemporary society. Firstly, neo-Marxist frameworks, for instance, stress the use of CCTV to police existing unequal socioeconomic divisions within society and the dominance of particular forms of order based upon materialist agendas. Secondly, Foucauldian frameworks contend that Foucault's notion of panoptic surveillance underpinning (self) disciplinary society is an appropriate template for understanding CCTV in late-modern society. In order to find a new point of valance between security and privacy in the use of CCTV, the participation of each citizen in the discourse to make the new norm is necessary. And to prevent its political misuse, their surveillance, or check for the potential surveillance-power is required.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.251-265
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• 2020

The Drone shot is moving images captured by a remotely controlled unmanned aerial vehicle, takes usually bird's eye view. The hand-held shot is moving images recorded by literal handheld shooting which is specialized to on-the-spot filming. It takes a walker's viewpoint through vivid realism of its self-reflexive camera movements. The purpose of this study is to analyze comparatively aesthetic functions of the drone shot and the hand-held shot. For this, the study understood Certeau's concepts of 'place' and 'space,' chose World Travel 'Peninsula de Yucatan' episode as a research object, and analytically applied two concepts to the scenes clearly presenting two shots' aesthetic characteristics. As a result, the drone shot took the authoritative viewpoint providing the general information and atmosphere as it overlooked the city with silent movements removing the self-reflexivity. This aesthetic function was reinforced the narration and subtitles mediating prior-knowledge about proper rules and orders of the place. The drone shot tended to project the location as a place. Conversely, the hand-held shot practically experienced the space with free walking which is free from rules and orders inherent in the city. The aesthetics of hand-held images represented the tactic resisting against the strategy of a subject of will and power in that the hand-held shot practiced anthropological walking by means of noticing everyday lives of the small town and countryside than main tourist attraction. In opposition to the drone shot, the hand-held shot tended to reflect the location as a space.

• Cross-Cultural Studies
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• v.43
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• pp.405-428
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• 2016

The purpose of this paper is to examine the narrative-building method and the post-historical descriptive aspects of the movie Paradise in Service, which deals with the modern history of Taiwan. Although Paradise in Service tells the history of a certain time period, it focuses on the anguish and agony felt by people who lived during that age rather than on the meaning of historical events or interpretation of the past in terms of official historical discourse. That is, as it avoids looking at the present by composing a narrative in the descriptive historical context and from bearing weight from the viewpoint of realism, it gains the possibility of establishing a new field of discourse through a post-historical discussion using descriptive historical texts. However, the movie tries to create fantasy through a special type of licensed prostitution as a means of post-historical description. In other words, when this movie tries to reproduce the microscopic history of common people in trouble because of a historical tragedy, it considers only men and excludes "weak" women. Thus, although Paradise in Service has meaning in that it gives an example of how movies can disrupt official historical discourse and group memory and rewrite history by focusing on individuals, it is limited by its male-centrism.

• Korean Security Journal
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• no.13
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• pp.279-303
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• 2007

The Study on the Film, as the one of the main fields in the cultural studies, has the significant meaning in analyzing our society in that culture represents the realities of the present society. Film is the metaphorically expressed text and the specific space where a variety of discourses cross. The director's social consciousness projected in the film must have the ultimate significance through the dialectic relation between the intention of the director and the interpretation of the audience, not through the his one-sided message to the audience. This paper focuses on the analysis of the movie 'The Host', which is evaluated to show the meaningful social phenomena related to 'disaster' among the recent movies in Korea. The Host which is characteristic of 'the open structure' can be referred to as the film reflecting the imperial order prevalent in the colonial society.

• The Journal of the Korea Contents Association
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• v.16 no.12
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• pp.772-780
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• 2016

This study examined the politics of representation about North Korean female defectors in general programming channels. In that channel's programs, the women are established as soften private people who got a lift in capitalism aggressively and as disparate subject that have value to be consumed by mass audience. They are caricatured with the testimony and internal competition, be emphasized that heterogeneous object. General programming channels use the women as easy and cheap substitutes for foreigners, also objectifies them to complies with the patriarchal authority. General programming channels are continuously producing a story to deal with North Korean female defectors in disparate subject. In this way, they owns the time and qualification to talk to the women as objects to be displayed, to ensure the media power. Ultimately, the female defectors is only a consumption subject that being sensuously staring, so they remain 'other' instead of 'us'.

• The Southeast Asian review
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• v.27 no.2
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• pp.1-36
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• 2017

This paper deals with the rise of Islamic scheme of security in Indonesia's longstanding traditions of vigilantism since the fall of Suharto's New Order regime. For that purpose, in comparison with other modes of the securitization process on morality issues that functioned by the end of New Order, I discuss the background that enables Islamic security to launch off, and the process of institutionalization and the practices of Islamic security agenda. I then argue how that scheme relates to power and moral legitimacy, and how it shapes the way of perceiving self and society. Through this ethnographic analysis of the rhetorical and institutional changes to the scheme of security in Indonesia, this paper demonstrates how the social stress in the reform era, which is mediated by the ideas of globalization and Islam, is put into the securitization process, and how Indonesian society imagines its future through the Islamic vehicle of security.

• The Journal of Korean Philosophical History
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• no.38
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• pp.7-38
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• 2013

From the philosophy of Laozi, we can infer the two types of the individuals, such as Youwei individual and Wuwei individual. The Youwei individual characterizes its expandibility, which appears as an aggressive character, and the society where this has set in is a false society. The Wuwei individual discards a false power and authority, concentrates on its realities and life, and further restricts its rights in a voluntary way. Their behavioral pattern like this allows the other party to secure an autonomous space and ensures that he or she can live a full life in person. The society these Wuwei individuals have formed through their own relationships is Xuantong Society. The Xuantong Society proposed by Laozi restricts individual rights, but it rather guarantees individual's autonomy, life and happiness, and suggests an individual-community model in which common good is created endlessly even though it does not establish the common good. This is very different from the points of view which guarantees individual rights and at the same time attempt to realize the common good together.

• Journal of the Daesoon Academy of Sciences
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• v.35
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• pp.393-426
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• 2020

In the past, holy sites were mainly designated on a basis of archaeological norms and endowed with a specific fixed identity according to historical, religious, and contextual interpretations. However, approaches to these sites are more flexible in recent times. These locations transcend the boundaries of space and time to enable the experience of diverse transformation and reveal multiple religious identities which are embedded in the complex interaction between power and authority. In this regard, the dynamic meanings of the religious symbology of Daesoon Jinrihoe's temple complexes, imagery, and the spatial structures enable us to grant them a new identity by re-establishing these structures as World Heritage sites. Temple complexes (dojang) correspond to the outstanding universal values identified by UNESCO in that the spiritual activities conducted at these holy sites draw the same attention as would be drawn by historical value. In this context, this study aims to explore the potential for Daesoon Jinrihoe's temple complexes to be designated UNESCO world heritage sites. To carry out this study, existing religious heritage sites such as Mount Athos Monasteries in Greece and Lumbini in Nepal are examined as case studies, and the operational plan, conservation, protection of relics, and interaction with its neighboring community and tourists are likewise closely examined in this study.

• Journal of Korea Entertainment Industry Association
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• v.13 no.6
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• pp.113-122
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• 2019

In the 1970s, under the tyrannical regulation and censorship of the Yushin regime, realistic dramatization techniques were forced to reveal their limitations. Choosing the 'allegory' technique, a double-meaning narrative structure, Lee Kang-baek sets up virtual spaces or unrealistic figures, both of which lack 'realism'. Lee Kang-baek has allergic the illusion of detadiscourse, the diaspora character, and the universality of 'Political Unconsciousness'. So it's linked to the perception of history in the 1960s. This creates a semantic network of public and casual perception of history. This was a 'bypass' strategy which more clearly disclose the violent politics. Therefore Lee Kang-baek's play shows the desperate situation of the diaspora character being oppressed by detadiscourse, and the desire of the author who can never give up on freedom of expression, though under that oppression. Furthermore, it was an attempt to acquire a timeless universality and symbolism about human freedom and liberation through the Allegory play technique.

• Cartoon and Animation Studies
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• s.30
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• pp.139-168
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• 2013

This article aims to explain the significance and value of cartoons in the 1910s which were largely passed unnoticed in the preceding cartoon studies by scrutinizing cartoons published in Maeilsinbo in the 1910s. Until now, Korean cartoons in the 1910s has been neglected just because it were published in Maeilsinbo. However, this writing analyzed cartoons in this period on the base of the fact that the cartoons in the 1910s printed in Maeilsinbo diversified the horizon of the Korean cartoon. Cartoons in Maeilsinbo functioned as a bridge connecting cartoons published in Daehanminbo in 1909 reputed as a root of Korean cartoon and 1920s, the time when satirical cartoons and comics started being printed in newspapers. The characteristics of Maeilsinbo as a bulletin of government general and periodical characteristics that the agent of popular culture begun to move reside as multi layers in the cartoons in the 1910s. In this article, the process and the development of how cartoons published in Maeilsinbo. As pleasure became important in everyday life in Korea, cartoons were able to earn a portion in the newspaper. In the beginning, modern cartoon style seemed vague, but as time goes by, its own style gradually settled. Cartoons in this period were not fixed in specific section but various kinds of cartoons were developed during the time since works of Korean as well as Japanese cartoonists and illustrators were published. Among them, representative cartoons in Maeilsinbo were analyzed in this article under three categories: first, cartoons represented 'Choseon-ness' through scenes of daily life and customs concurrently contained a view of anti-civilization/enlightenment; second, cartoons represented the accumulation of wealth as valid from the view point of public interest; last, cartoons divided Koreans who suffered from hardships of life in Kyungsung and Japanese in Jingogae in order to divide space. In conclusion, Maeilsinbo disciplined the colonized, Koreans, and exposed the discourse of the colonial power via cartoon.