• The Journal of the Korea Contents Association
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• v.10 no.2
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• pp.165-175
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• 2010

This paper claims the argument that the taste of own is not the intrinsic value but is determined by the environment or habitus, based on Bourdieu's theory. This concept of taste leads up to a natural stream of imitation and alignment. We conclude that the stream is the fashion which be justified by the major agreement. But the nature of fashion exists in hegemony and determines a sense of kinship or a point of difference. In this regard, popular cultures as a window circulated fashion have a negative consequence that can be method of discriminating the minority and justifying vested rights. Accordingly, we have to become wary of the strategy of control using fashion and popular cultures, and need to recognize the prior paradigm about fashion. In the process, we can expect that fandom or counter cultures based on digital high technology constitute subjectivity and dynamics of popular by interaction between the objects.

• Korean journal of communication and information
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• v.70
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• pp.132-164
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• 2015

The formation of knowledge of the people of Korean society is the social practices of collective subjectivity. Subjectivity is the truth of the self, which is incessantly created, questioned and modified in the milieu of self-reflection. In an attempt to examine the hermeneutics of the subject of Korean society, a conceptual framework is proposed, which, with the notion of life embedded, consists of a historical sequence of the popular, minjung, multitude, people and community. The period of 1960s saw the ambiguous mass of lifes floating, the individual with his/her own interior world of consciousness emerge. The ideological solidarity is formed in the the next two decades, in contestation with immediate and physical threatening such as poverty and dictatorship. The democratization of Korean society and the global expansion of neoliberal regime gave a re-birth of multitude and people which is characterized with their pursuit of the co-existence and co-realization of singularity and universality on the ethical principle of the open and communicative radicality.

• Korean journal of communication and information
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• v.69
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• pp.71-110
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• 2015

Beyond the technological behaviorism-oriented notion of prosumers, the current study explores the question of digital creative labour of the youth in the interrelated context of post-capitalist crisis and neoliberal ethos of selfhood. This analysis is situated particularly in the social conflicts and struggles in Korea, where the problems related to the precarization of the younger generation have been increasingly aggravated (in the realm of embodied reality) whereas their digital activities have been highly expressive (in the realm of mediated reality). The contradictions embedded in the question of the labour of the youth are delineated in the respect of the subjectivities of young free labour, or 'digital creative labour' in proposed terms: the precarious young free labour in Korea is the compound of social fragmentation, economic polarization, expansion of cognitive and emotion labour, boom of hedonistic consumerism, economic-cultural celebration of creativity and self-entrepreneurship, technological saturation of digital media, subjective/collective affects around excitement and ambition but also of anxiety and fear. The ambivalence and complexity of the young free labour is converged at the emergence of homo-economicus (Michel Foucault) through the subjectivation of the social (con)fusion of post-capitalist crisis and neoliberal governmentality of selfhood.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.133-185
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• 2021

This study is an attempt to connect television drama M, which deals with abortion issues, with theoretical focus such as materiality, relativity, and agency, to understand diffractively as an cartography of agential reality. According to Karen Barard's Agential Realism, Television drama M is a sociocultural phenomenon produced by the agential intra-actions of material-discursive apparatuses such as medical technology, ghost stories and legends, and male-affect. The 1990s repeatedly revealed "hate" through apparatuses such as technology, discourse, and affect, which are directed at women's gendered bodies. The material -discursive practice of plastic surgery and abortion proves that the agential reality surrounding the body is closely intertwined with medical technology, as well as with the genderized hate. Another related material-discursive phenomenon is rediscovery of the legend and fad of the ghost story, which is also produced from the hate of the denaturalized body, which is once again expanded and reproduced. Appearing in this environment of affect, M enacts diffraction, which is based on backlash, lacking posthuman implications for the materialization of the techno-body. M puts humanistic assumptions about "Man" as a universal definition, historically framed and defined in context. But it is not universal and it is gendered. The current time when the political turmoil surrounding medical technology, discourse, and bodily matters is violently intra-acted is the time to carefully account and respond to the alternative definitions of human beings that M has rejected.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.429-465
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• 2019

This paper analyzed the ways in which "others" were reproduced in Korean movies in the 1970s. In the midst of the social changes of the era, such as urbanization due to rapid industrial modernization, many people became laborers for industry in order to obtain the fruits of modernization.But the landscape of others, which was inevitably produced in the process of constructing such subjects, has been limited to analysis that is focused on gender and youth discourse. This article aims to extract the landscape of others in the 1970s by adopting a different perspective. The way in which the other is present can be divided into the following two categories. First, in 1970s film, the family community, in contrast with 1960s film, has disintegrated and cracked, due to the inability of others to enter or leave the community. The desperate perception that the family community can no longer function as a stable foundation or center of the constitution, and that it cannot have a sense of security and belonging,is revealed through the way the others are wandering in and out of the community. Second, 'Death' is an element of social life in the violence of the national ideology of the 1970s, and the everyday exceptional state. The way in which the 'other' is completely eliminated from the normal subjectivity requested by the state and is deported in film reflectshow everyday death or potential death is part of life of the 1970s. Normal life pursued through rapid urbanization and industrialization leads to the death of the other beings, but the way of existence of others is the desperate reality of the 1970s, when the boundaries of the state that provide stability and belonging are broken. As a result, the landscape of others in the 1970s reveals a violent reality that destroys the perfect middle class family discourse that industrial modernization was oriented around in the 1970s, and that produced masses of others who caused numerous deaths. In spite of regime censorship, Korean films were popularly revealing the violence of life brought in by the 1970s, following a detour of representation.

• Korean journal of communication and information
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• v.36
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• pp.198-230
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• 2006

The aim of the this study is to observer paradoxal phenomenon in media election. The media, especially Television, was traditionally a journalistic operation representing political events on the outside of political camp. But recently, it intervenes to 'the political camp' as the most important method for election campaign. A centripetal of electronic medias making the dominant political space offer an alternative plan which get over the modern crisis of representative democracy. Even though, to the production of the political symbol and the operation of symbol which constitute substantial system of political action, the human being subject is excluded and the technical system of communication make up a govern structure. So it makes the contradictory situation. TV broadcast for election campaigning show well this paradoxal situation. The institutionalization of electoral broadcasting oriented by the State strengthens an immensification, an economical and political efficiency and a transparency of electoral campaign. But the means which controls the mind of public is also strengthened. It relates the production and circulation of the political symbol and the symbolic image restricted by dominator. In conclusion, this study argues that the media election is institutionalized by the instrumental reason(procedural rationality of politics and technological rationality of broadcasting), therefore the candidate take a fragment roles for the production of transcendental political symbol and the voters accommodate to the symbolic images which are foreseen and they judge.

• Proceedings of the Korea Contents Association Conference
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• 2008.05a
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• pp.262-269
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• 2008

This research, to find the cultural identity of taekwondo, presents the historical origin of taekwondo in lights of Choi-centric theory, kwan-centric theory, karate inflow theory, and successive traditional martial arts theory. Then it investigates taekwondo's inner identity as a Korean traditional martial art according to presence, popularity, and independence, three factors of identity suggested by Tak, S. S.(2000).As a result, it reached these conclusions: First, taekwondo was formed after going through fusion of Hong Hi Choi, karate income in period of cultural severance during Japanese occupation, the first kwan leaders and Korean traditional martial arts, process of disorder and cultural reproduction. Second, taekwondo has essentially inherited and developed Korean barehanded martial arts' movements that lay stress on foot skills, and this distinguishes it from hand-skill-based Japan's karate and China's Wushu Furthermore, trunk/groin protectors and headgears are blended remarkably with taeguk patterns and traditional Colors of Five Directions. All terms rendered into pure Korean words shows the essence of Korean localization. It is therefore concluded that Koreans should, along with trying to overcome exclusive nationalism as a country of origin, build a new paradigm of establishing an identity as a global martial art sport.