• Journal of Korea Entertainment Industry Association
• /
• v.14 no.4
• /
• pp.187-198
• /
• 2020

With the cultural background of whiteness I did examine the universal meaning of absolute good, the special of psychosis, and the fantastic of femininity and memory/record. As an example I analyzed the symbolic meaning of white used in Korean films. Unconditional goodness, white as a generality: White color in all the films of good-evil confrontation falls into this category. The most obvious and the simplest configuration are the black-white dichotomy. In Nameless Gangster: Rules of Time(2011), The Merciless(2016), Asura: The City of Madness(2016) and The Bad Guys: Reign of Chaos(2019), white is the absolute good but it is not limited to a fair key figure. Paradoxically, black is not given only to the side of absolute evil. White is used to be a flexible visual device that reflects the socio-political situation without changing the meaning of the general good. Psychosis and pills, white as a peculiarity: The visual function that emphasizes sado-masochism in the absolute good and the universal symbol of white extends to psychotic specificities such as hysteria. In all the films creating horror, white symbolizes the mentally disabled and the pill for healing. Femininity and haunted white: White of absolute good is expressed by the socio-cultural tendency of femininity and the black-white contrast of vision is applied to the gender difference. In general the women's sexuality is emphasized in color red, but white is arranged in the background. In TaeGukGi: Brotherhood Of War(2004), 71: Into The Fire(2010), My Way(2011), The Front Line(2011), Roaring Currents(2014), Northern Limit Line(2015), The Battle: Roar to Victory(2019) and Battle of Jangsari(2019), white given to female figures sticks to the traditional femininity such as motherhood, sacrifice and weakness. The concept of specters is applied to desires, memories/records, history, fantasy, virtual/reality and social media images. The film history capturing to list memories and moments brings up the specters of socio-political genealogy. Most of films aiming for socio-political change are its examples and white constituting Mise-en-scene records to remember a historical event in Peppermint Candy(2000), The Attorney(2013) and A Taxi Driver(2017).

• The Korean Society of Law and Medicine
• /
• v.23 no.3
• /
• pp.3-44
• /
• 2022

As a result of a close review focusing on the case of obstruction of epidemiological investigation by a religious group A in Daegu, which was a problem when the pandemic of Covid-19 infection began in Korea around February 2, 2020, when an epidemiological investigator requested a specific group to submit a list, While there have been cases where an act of not responding or submitting an edited omission list was sentenced to the effect that the act did not fall under an epidemiological investigation, in the case of non-submission of the visitor list for the B Center, even though a 'list of visitors' was requested. Regarding the fact of refusal without a justifiable reason, 'providing a list of persons entering the building is a key factual act that forms a link between epidemiological investigations accompanying an epidemiological investigation, and refusing to do so is also an act of refusal and obstruction of an epidemiological investigation. There are cases where it is possible to demand criminal punishment. Regardless of whether the request for submission of the membership list falls under the epidemiological investigation, there are cases in which the someones' actions correspond to the refusal or obstruction of the epidemiological investigation. A lower court ruling that if an epidemiological investigation is rejected or obstructed as a result of interfering with factual acts accompanying an epidemiological investigation, comprehensively considering whether or not the list has been diverted for purposes other than epidemiological investigation, the logic is persuasive. Epidemiological investigations such as surveys and human specimen collection and testing are conducted for each infectious disease patient or contact confirmed as a result of the epidemiological investigation, but epidemiological investigations conducted on individual individuals cannot exist independently of each other, and the This is because the process of identification and tracking is essential to an epidemiological investigation, and if someone intentionally interferes with or rejects the process of confirming this link, it will result in direct, realistic, and widespread interference with the epidemiological investigation. In this article, ① there are differences between an epidemiological investigation and a request for information provision under the Infectious Disease Control and Prevention Act, but there are areas that fall under the epidemiological investigation even in the case of a request for information, ② Considering the medical characteristics of COVID-19 and the continuity of the epidemiological investigation, the epidemiological investigator the fact that the act of requesting a list may fall under the epidemiological investigation, ③ that the offense of obstructing the epidemiological investigation in certain cases may constitute 'obstruction of Performance of Official Duties by Fraudulent Means', and ④ rejecting the request for information provision under the Infectious Disease Control and Prevention Act from September 29, 2020 In this case, it is intended to be helpful in the application of the Infectious Disease control and Prevention Act and the practical operation of epidemiological investigations in the future by pointing out the fact that a new punishment regulation of imprisonment or fine is being implemented.

• The Journal of the Korea Contents Association
• /
• v.22 no.10
• /
• pp.658-675
• /
• 2022

With the advent of the OTT platform, the world has become an era in which the same media content is shared and reacted in real time by being grouped into one culture. This study attempts a producer study of web novel writers, who are producers of the web novel market that is expanding into webtoons, dramas, and movies with IP (intellectual property rights) of the original story at a time when Korean K-content such as "Squid Game" and "Weird Lawyer Woo Young-woo" leads the global market. In this study, web novel writers were viewed as producers of commercial media content, not just 'Novelist', and their identities and characteristics of the labor process were examined. Web novel writers began writing web novels as a side job or two jobs, and cited the fact that they can make profits alone without barriers to entry and without incurring capital or facility costs. Although there is no barrier to entry, most writers experience severe failure in their first work, which is attributed to the misunderstanding that the word "writer" is someone who writes what they want in any genre. Web novels are different, so writers go through the process of realizing that in order to succeed by writing web novels, they must be thoroughly in the audience's shoes and write them according to the trends and codes they want. Web novel writers expressed their identity as "story sellers," "story producers," "people who can produce IP alone," and "people who satisfy fantasies that cannot be achieved in reality," and in common, there was a strong sense of being a person who provides stories and makes profits or sales. Regarding the burden of writing a huge amount of web novels, the writer with a high income expressed a generous position that "the income is higher than the effort," but ordinary writers complained of difficulties in the hard work, saying, "It seems like I am working hard on writing that I have to write constantly.

• The Korean Society of Law and Medicine
• /
• v.22 no.4
• /
• pp.3-35
• /
• 2021

Inmitten der Flut der privaten und öffentlichen Information gilt die riesige Informationsmenge als Schlüsselressource im Zeitalter der 4. industriellen Revolution, repräsentiert durch Big-Data. Das Interesse an diesen wächst weltweit. Es gibt eine aktive Diskussion darüber, wie man Daten sichert und akkumuliert und wie man die gesammelten Daten sicher und effektiv nutzt. Gesundheitsdaten werden vor allem als die wertvollste Ressource bewertet, für die Big-DataTechnologie eingesetzt wird. Um Gesundheitsdaten sinnvoll zu nutzen, müssen verteilte Gesundheitsdaten integriert und den Benutzern in einer Form zur Verfügung gestellt werden, die für Forschung oder Inspektion verwendet werden kann. In einer Situation, in der große Länder um den Aufbau bzw. die Führung der Datenwirtschaft konkurrieren, wurden im August 2020 auch in Südkorea die sog. „3-Daten-Gesetze" geändert, die das Datenschutzgesetz(DSG) enthälten. Das DSG führte das Konzept der pseudonymen Informationen ein und baute eine Rechtsgrundlage für deren Verwendung auf. Als Folgemaßnahme kündigte die, Kommission für den Schutz personenbezogener Daten(Personal Information Protection Commission: PIPC)' die „Richtlinien für die Bahandlung mit pseudonymen Informationen" und, Ministerium für Gesundheit und Wohlfahrt' die „Richtlinien für die Verwendung von Gesundheitsdaten" an. Gesundheitsdaten stehen direkt in Zusammenhang mit Leben und Körper des Menschen und damit enthalten viele sensible Daten. Es handelt sich also um ein System, das aus einer vorsichtigeren und konservativeren Sicht unter der Voraussetzung verwendet werden kann, personenbezogene Daten sicherer zu schützen. Um die Hauptinhalte der „Richtlinien für Verwendung von Gesundheitsdaten" zu analysieren, überprüften wir zunächst die Hauptinhalte des überarbeiteten DSG. Danach durch die Analyse der wesentlichen Inhalte der „Richtlinien für Verwendung von Gesundheitsdaten" wurden Probleme wie Konflikte mit anderen Gesetzen und Verbesserungsmaßnahmen überprüft.

• The Korean Society of Law and Medicine
• /
• v.22 no.1
• /
• pp.91-124
• /
• 2021

In May 2019, the Ministry of Food and Drug Safety revised the "Pharmaceutical Determination and Adjustment Criteria" with the content of differentially calculating the price of generic drugs according to the registration of the drug substance and meeting the requirements for their own bioequivalence test. According to this revised rule, if their own bioequivalence test is not conducted, even the generic drugs that have already been approved would be lowered in price. I wondered whether this system was introduced with sufficient public legal considerations regarding its legislative purposes and means. Therefore, I reviewed the contents of the revised notice based on whether or not it is valid to determine and adjust the price of generic drugs in terms of the legitimacy of legislative purposes and the proportionality principle after introducing the history and background of the rule. First, I raised a question as to whether the purpose of preventing the overrun of generic drugs is indeed legitimate in terms of the legitimacy of the purpose. In order for the revised notice of "reduction of drug prices when the test requirements are not met," to meet the conformity principle, the premise that it is difficult to recognize safety and effectiveness through consignment (joint) bioequivalence test or that these tests are insufficient in safety and efficacy verification than their own test must be established. Nevertheless, it seems that suffficient review has not been carried out. In order to achieve the purpose of securing safety and effectiveness, the focus should be on 'reinforcement of the standards for bioequivalence test and the management of the bioequivalence test itself' rather than whether it is a their own test or a consignment (joint) test. Third, it is contrary to the necessity and substantiality principle that strict standards are uniformly applied to the products that can be considered to have been sufficiently verified for safety and effectiveness after a considerable period of time has passed after the product approval. In many cases, revised administrative legislations quickly enacted and amended in the state of lack of legal review or consensus, while the regulatory effects resulting from it are quite direct and specific to the regulated person. In this respect, I emphasized that the administrative legislative process also requires substantial review and prior control of the regulatory purposes and means, and that the participation of stakeholders in the legislative procedure is to be strengthened.

• Journal of Popular Narrative
• /
• v.26 no.3
• /
• pp.189-219
• /
• 2020

This study is an analysis of Handol Heung-Gun Lee's Tarae, which is a coinage combining the Korean words for "playing an instrument" and "song", in terms of narrative and aesthetics. The components for analysis are the phenomena and nature of binary oppositions between nature and human beings, between alienation and interest, between division and unification, and between diaspora and people of the national community. Tarae in the period from the late 1970s to the early 1990s described the experience of pain and loss from non-resistance and disobedience in protest against social problems that emerged during the era of miliary dictatorship, such as industrialization, urbanization, reckless development, Westernization, university-oriented education, the gap between rich and poor, human alienation, and the conflicts arising from the division of the nation. After Handol overcame the lack of creative motivation with self-reflection and effort, Tarae took the form of a diaspora epic meta-narratives integrating the "sound of nature and his true nature" and "the awareness of diaspora and the spirit of the Korean people". The epics of the homeland, the national soil and the people, which began with "Teo", became more intense in terms of a sense of diaspora as they shifted their focus from an origin to a path with "Hanmoejulghi" as the turning point. Handol seeks inspiration in the source of narrative rather than in music. His Tarae focuses on "adding rhythm for lyrics". For this reason, the semiotic features of Tarae have a limitation in that its extrinsic phonology is simple even if its intrinsic meaning (i.e., emotion of sadness) is profound and subtle. In order to elicit sympathy from the audience and impress them, it is necessary to strike a balance between the implicit (semantic) part and the explicit (phonological) part. To share the emotion of sadness with more people, it is necessary to strengthen phonological elements. Sympathy for sadness and deep impression on the audience are more often induced by the mood of similar sentiments than by the stories of the same experience. The aesthetics of sadness in Tarae began with the narratives of past experience which were expressed in the contexts of loss, loneliness, and poverty that Handol had experienced since childhood. However, the aesthetics of sadness, deepened over the period of a long hiatus in Handol's career as a composer, formed the narratives of ultimate salvation, embodying even the diaspora experience of others (e.g., displaced people, overseas adoptees, ethnic Koreans in Russia, victims of Japanese military sexual slavery, etc.). This gave Tarae the potential to go beyond the limits of the ethnic group of Korea. Tarae, as a "dispersed sound", can benefit from the appeal of deep sadness at the point of contact with other forms of world music. It may form a global diaspora discourse because Tarae is oriented towards interculturalism rather than anti-multiculturalism. The future challenge and goal of Handol's Tarae would be to continue to find areas of sympathy and broaden the horizon of awareness as diaspora music.

• Journal of Popular Narrative
• /
• v.26 no.1
• /
• pp.135-174
• /
• 2020

The article focuses on the student activism experience of the 1990s and 2010s and on the accumulation of everyday experiences created by the conditions of the 2010s against the backdrop of differences in how the composition of 'we' is portrayed in oral narrative. What stands out in the 90s oral narratives on student activism experiences, which were compiled in the 2010s, is the distancing of the culture of student activism at that time. In the words of speakers who experienced university life in the 1990s, the culture of student activism at the university was created through private relationships, and was, needless to say, considered 'natural'. At the same time, however, the 'natural' is said to be 'abnormal' or 'strange' in the context of the 2010s in which it is being talked about, and is meant to be an experience with a certain distance from the present speakers. This aspect is associated with the conditions under which the experience of the 90s is being described in the 2010s. The present, which explains past experiences to speakers, was explained after the 2016 candlelight protest and Gangnam Station femicide protest, and is described as a world that is qualitatively different from before, and is located as an opportunity to create a critical distance from past experiences. This qualitative change, which raises suspicions about the homogenous "we", is based on a newly acquired sense of gender sensitivity, living since the mid-2010s, when gentler issues were the biggest topic in Korean society, among others. In the 2010s, the composition of 'we' is no longer understood as a community of people who share any commonality, but as individuals who unite despite numerous differences. This reveals the experiences of those who have already embodied this in their everyday senses in the 2010s. The 'we' they formed should have nothing to do with private relationships, nor was homogeneity considered the most prominent group, so it was nothing that could explain the 'me' at the time of the demonstration and outside of the venue. It was in that context that the relevant experience was described in a cautious manner throughout. This, in turn, raises the need to ask and understand a new sense of student activism and, moreover, social movements and the sense of unity as 'we'. It should also be asked who is the main body of the movement and what is the use of asking it. Soon, the need and meaning of defining the fixed identity of 'we' in the movement should be questioned. Therefore, it should be asked what fixed positions or coordinates can really represent someone's position.

• Journal of Popular Narrative
• /
• v.27 no.1
• /
• pp.265-299
• /
• 2021

The purpose of this research paper is to facilitate the understanding of the synesthetic aesthetics in the film The Age of Innocence through the intertextuality among the narrative, paintings, and music in the film. In this paper, a two-dimensional intertextual analysis of the paintings in relation to the narrative is conducted on the paintings owned by Old New York, the paintings owned by Ellen, the portraits of unknown artists on the street outside of Parker House, and Rubens' painting at the Louvre. A three-dimensional intertextual analysis of performances in relation to the narrative is conducted on the stages and the box seats at the New York Academy of Music, in which Charles F. Gounod's Faust is performed, and the Wallack's Theatre, in which Dion Boucicault's The Shaughraun is performed. An intertextual analysis of music in relation to the narrative is also conducted on the diegetic and non-diegetic classical music of the film, including Beethoven's Piano Sonata No. 8 and Mendelssohn's String Quintet No. 2, as well as Elmer Bernstein's non-diegetic music of the film. The constituent event of The Age of Innocence represents the passion trapped in the reflection of love and desire that are not lasting, and the supplementary event embodies the narrow viewpoint and the inversion of values caused by the patriarchal authority of Old New York. The characters in the film live a double life, presenting an unaffected surface and concealing the problems behind it. The characters restrain their emotions at both the climax and the ending. The most powerful aspect of the film is the type and nature of oppressive life, which are more delicately described with the help of paintings and music, as there is a limit to describing them only by acting. In intertextual terms, paintings and music in The Age of Innocence continuously emphasize "feeling of emotions that cannot be expressed in language." With a synesthetic image, as if each part were imprinted on the previous part, the continuity "responds to continuous camera movements and montage effects." In The Age of Innocence, erotic dynamism brings dramatic excitement to the highest level, switching between the satisfaction of revealing desire and the disappointment of hiding desire due to its taboo status. This is possible because paintings and music related to the narrative have made aesthetic achievements that overcome the limitations of two-dimensional planes and limited frames. The significance of this study lies in that, since the identification in The Age of Innocence is based on the establishment of a synesthetic aesthetic through audio-visual representation of the film narrative, it helps us to rediscover the possibility of cinematic aesthetics.

• Korean Journal of Heritage: History & Science
• /
• v.55 no.2
• /
• pp.214-230
• /
• 2022

This paper discusses the characteristics and background of the production of white porcelain with the "Byeol(別)" inscription. Such porcelain was produced by the government-run porcelain kiln, Gwanyo(官窯), in the 16th and 17th centuries (from the 1560s to the 1640s), during the Joseon dynasty. The white porcelain ware, inscribed with either the term Byeol or "jwa(左)" and "u(右)," constituted a dual production system of white porcelain by Gwanyo starting in the 1560s. However, to date, few studies have examined Byeol-inscribed white porcelain. This, therefore, makes it difficult to achieve a comprehensive understanding of the evolution of inscriptions on the white porcelain produced by Gwanyo in the 15th to 17th centuries. Besides a regular annual stock of porcelain(年例進上磁器), Gwanyo also produced and supplied additional porcelain ware, or Byeol-gi, at the behest of the royal family or the court of Joseon. Byeol-inscribed white porcelain is a form of Byeol-gi, produced through extra firing, or Byeolbeon(別燔). According to use, Byeol-gi can be categorized as an item for national use(國用) or an item for internal use(內用). However, if the porcelain only carries the "Byeol(別)" inscription, it is difficult to identify its characteristics. Furthermore, as part of the annual production of porcelain was for the supply of Byeol-gi, and then for other purposes, the white porcelain came to be inscribed with dots indicating a change in ownership. In the 16th century, the royal family increased its consumption of white porcelain based on Shinyu Gongan(辛酉貢案), the government's fiscal reform measures. To guarantee a stable supply of exceptional Byeol-gi in light of Gwanyo's decline in the 1560s, the royal family benefited from the inscription of "Byeol." The white porcelain produced by Gwanyo was divided into annual offerings-those with the inscriptions "jwa(左)" and "u(右)"-and Byeol-gi, those with the inscription of "Byeol." They were managed separately from the commencement of production. Byeol-inscribed white porcelain was produced until the 1640s. During the mid-and late 1640s, Byeolbeon was temporarily suspended. Starting in the 1650s, the white clay used to produce the annual stock of white porcelain was sourced from regions other than those providing the clay for Byeol-gi production. The former used clay from Wonju(原州土) and Seosan(瑞山土), while the latter used clay from Gyeongju(慶州土) and Seoncheon(宣川土). According to the literature, the clay from Gyeongju and Seoncheon was much cleaner than that from Wonju and Seosan. Byeolbeon thus underwent a transformation, whereby production was separately managed, right from the stage of white clay mining. Ultimately, the need for the separate management of Byeol-gi through inscriptions diminished, resulting in the disappearance of Byeol-inscribed white porcelain.

• Korean Journal of Heritage: History & Science
• /
• v.55 no.2
• /
• pp.50-64
• /
• 2022

This thesis is a study on the woodblock of Donguibogam by Jeolla Gamyeong(Wanyoung Woodblock). It was registered as a tangible cultural property in Jeollabuk-do in 2005. The purpose of this article is to determine the current status and value of the Donguibogam Wanyoung Woodblock. Jeonju Hyanggyo's Wanyoung Woodblock was used to print books in Gamyeong, Jeolla Province. Currently, ten kinds of woodblocks are preserved. In 1987, a wooden bookshelf was installed and preserved in "Jangpangak" of Jeonju Hyanggyo. It is now preserved and managed at Chonbuk National University Museum. Among the ten woodblocks, the Wanyoung woodblock of Donguibogam is presumed to be a woodblock of a book printed by Jeolla Gamyeong in 1814. The value of Donguibogam has long been recognized domestically and internationally. Donguibogam, compiled in 1610, was first published in 1613 in the wood type of Gaeju Gapinja. Following its publication, its value was recognized not only in Joseon but also in China and Japan. In 2009, the first edition of Donguibogam was registered as a UNESCO World Heritage. Accordingly, Donguibogam has been recognized for various aspects, but little research has been conducted on the woodblocks that printed Donguibogam. Therefore, this paper analyzes the current status of the Wanyoung woodblock of Donguibogam, aiming to enhance its meaning and value. King Seonjo presented the ideals of public health care and preventive medicine when compiling Donguibogam, which was distributed according to his instructions. For this reason, the first edition of Donguibogam was registered as a UNESCO World Heritage. It can be said that the production of Donguibogam woodblocks was an important tool in realizing Joseon's ideals through national dissemination. Furthermore, the woodblock of Donguibogam represents the spirit of thinking about the people, going beyond the purpose of printing, and it was meaningful in the spread of medical knowledge among the people. In this article, I will examine the overall contents of the Wanyoung woodblock of Donguibogam to enhance its meaning and value. The results show that the Wanyoung woodblock of Donguibogam is meaningful in that it is almost the only one produced and stored by Gamyeong. Moreover, Wanyoung woodblocks are meaningful in that perfect editions could be preserved and disseminated for a long time, unlike other wood-type prints.