• Cartoon and Animation Studies
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• s.25
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• pp.133-154
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• 2011

Yang, Youngsun's 1001 has been a monumental "Web-toon" work optimized in Web Environment. This paper has intended to explain semantics of 1001 (reconstructed works of the Arabian Nights) by mimesis theory of desires and scapegoat mechanism of Ren$\acute{e}$ Girard; Shahriah, the protagonist, had been hurt by Queen's affair, but in the depth of his mind, he had suffered the problem of injured self-esteem by his model, father. However, Shahriah's mind had been recovered slowly by story therapy of Sheherezade. Sheherezade's story therapy had made up by contrasting states, violence and sacrificial love. In the very end, Shariah had solved all the problems of the structural Negativities by accepting his fate.

• Journal of Digital Convergence
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• v.17 no.7
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• pp.299-309
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• 2019

The purpose of this study was to look at the relationship between perpetrators and victims in Joshua Oppenheimer's Act of Killing. The theoretical tools used for this purpose were to study $Ren{\acute{e}}$ Girard's "Mimetic desire" and Hannah Arrent's "banality of evil" and to look at $Ren{\acute{e}}$ Girard's theory of "Le Bouc emissaire". The meaning of the study used the reproducible narrative of the film to challenge the reproducibility of past genocide and seek the combination of documentary and fiction as a way to show the truth. Also, the reconciliation between the assailant and the victim is meaningful in securing 'neutrality of fairness'.but they are still lacking, and more in-depth studies will need to be conducted in future further studies.

• Proceedings of the Korean Society of Computer Information Conference
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• 2015.07a
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• pp.220-221
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• 2015

본고는 르네 지라르의 욕망 이론을 라스트 어브 어스라는 게임서사에 적용하여 분석한 글이다. 소설과 달리 게임은 유저인 플레이어가 방관자가 아니라 프로슈머가 되어 게임의 서사를 수행한다. 그 과정에서 플레이어는 오디세우스가 되어 통과제의의 관문을 통과한다. 플레이어는 게임 속에서 주인공이 되기도 하고 조력자와 연대하기도 한다. 게임의 주인공인 플레이어는 전투를 수행하면서 인물 상호간에 유대와 저항을 하기도 하면서 생존의 욕망을 추구함을 알 수 있었다.

• Proceedings of the Korea Contents Association Conference
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• 2013.05a
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• pp.81-82
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• 2013

주로 만화를 기반으로 하는 할리우드 슈퍼히어로 영화는 이미지 위주의 인물서사에 의존하는 경우가 많다. 하지만 이에 반해 소설을 기반으로 하는 슈퍼히어로 영화의 경우, 인물서사 보다는 사건 위주의 서사로 이야기의 흐름이 진행되는 경우가 대부분이다. 이러한 차이는 만화원작의 할리우드 슈퍼히어로 영화와 소설, 특히 고전소설을 원작으로 하는 국내 슈퍼히어로 영화에서 흔히 발견할 수 있다. 이에 본 논문은 국내 슈퍼히어로 영화의 서사구조 특성은 무엇이고 또한 그 한계는 어떠한 것이 있는지, 영화 <전우치>를 통해 분석해 보았다.

• Journal of Korea Game Society
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• v.20 no.4
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• pp.89-100
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• 2020

The purpose of this study is to identify online-game players' desire in cheating programs through Rene Girard's theory of mimetic desire. Cheating programs disrupts the magic circle of the game with denying the lusory attitude that players should have. The cheating players' desires do not go directly to victory, but are mediated by a virtual 'model player' which the rules of the game imply. They are internally mediated, so there is constant conflict in the play. Cheating players' desire to enhance skills by technology is defined as a false desire for transhuman.

• Journal of Korea Entertainment Industry Association
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• v.14 no.2
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• pp.63-71
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• 2020

K-Pop is powerful. Once considered to be at the periphery of global music scene, it is now reaching the whole world. Not surprisingly, the media, domestic and foreign, have scrambled to unlock the secrets of K-Pop's phenomenal growth. In doing so, they have not failed to highlight the underside of its success, such as cut-throat competition among idol-group members and the programmed member replacement by their agencies. One of the most notable characteristics in this process is called, in their business jargon, 'the graduation system'. This paper attempts to explicate this management practice unique to K-pop industry. To do so, this paper draws on Rene Girard's work on desires, particularly his notion of mimesis, violence and the scapegoat mechanism. Based on a documentary film, interactive online sites and a monograph that have chronicled how the K-pop girl group <9 Muses> have 'graduated' during their debut process, this paper applies, as its main analytical tool, the scapegoat mechanism and attempts to explore on its basis what 'the system' entails for the K-pop industry in general and the actors working within it in particular.

• The Journal of the Convergence on Culture Technology
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• v.8 no.3
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• pp.393-398
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• 2022

Yorgos Lanthimos' The Killing of a Sacred Deer (2017) uses Iphigeneia in Aulis written by Euripides, one of the three great Greek tragedies writers, as the archetypal narrative. Thus, Lanthimos introduces a mythical world stained with 'blood violence by a divine being' within the cinematic diegesis of a modern American metropolis. And the mythical motifs of curses and scapegoats are varied. This thesis tried to read the scapegoat mechanism, the oldest mechanism of escape from the crisis of collective sacrifice, and the imitative and mutual characteristics of desire and violence through René Girard through the mythical world built in the modern time and space of the film. Martin places a cursed oracle on Steven when his desire to place him in his father's place is thwarted. The 'good' reciprocity between two people is rapidly transformed into a 'bad' reciprocity. The Killing of Sacred Deer is an excellent portrayal of how the scapegoat mechanism works through Steven's family. The selection of the scapegoat by lot gives the sacrificial lamb a sacred character thanks to its divine nature, and the scapegoat becomes a sacred being, and the family order is re-established.