• Cross-Cultural Studies
• /
• v.44
• /
• pp.123-145
• /
• 2016

A flow of generative change has existed in the Chinese media following political, economic, and institutional changes. Since a market system was introduced to the field of drama production, people called 'zhipianren' who act as government agents as well as market administrators have spontaneously emerged. The government, by granting legal qualifications and authority to these 'zhipianren', have institutionalized and absorbed them within the system. Through this process, the 'drama zhipianren system', under the unique environment of a socialist market economy, demonstrates a Chinese administrative model that effectively reveals the changing process from a direct administration by the government to indirect administration and self-censorship. Furthermore, with the widespread adoption of the internet, various types of media including grassroots media have emerged, and the participation and production activities of netizens has enabled the development of a new genre of literature called internet literature. Furthermore, some websites that functioned as platforms for video and grassroots media came to self-produce contents so as to function as media in and of themselves. Originally, the internet was cultivated as a portion of the IT industry, but when it began to function as media, forming a new media landscape, regulations and institutions were gradually established and subsequently advanced in the direction of supervision and regulation over all internet media contents. A flow of generative change in the field of media has emerged, and the pattern of generation-convergence repeats itself as the official media policies converge.

• 한국학연구
• /
• no.54
• /
• pp.75-100
• /
• 2019

This thesis tried to find how the Manchurian Koreans who had experienced Chinese civil war, the establishment of the People's Republic of China, the Korean War and remained in the Northeast China got their identity as a Korean Chinese. Kim Chang-keol is an important writer who is regarded as a founder and pioneer of Korean Chinese literature. This is because he joined in both Korean literature of Manchuria and Korean Chinese literature in China and enabled the continuity of Korean-Chinese literature. He started from Man-sun Daily before liberation, then did literary creation in Man-sun Daily. However, in 1943, he declared that he would stop writing and broke his writing brush. It was January 1950, after the establishement of the People's Republic of China, that Kim Chang-keol restarted writing. The New Village which was awarded in Sinchoon Literary Contest of East-North Korean People's Press in 1950 showed a typical model of rural area that well developed by mutual cooperation under the leadership of the new country's new government. The following two works, The People of the Village(1951) and The Victory of the Village(1951) seem to be the novels about National Counter-revolutionary movement, but are the important works that gave a glimpse of the Korean War, the repercussions of the Korean-Chinese community in Northeast China and their perceptions of the Korean War. These two works indicated that the Korean War was to prevent the invasion of North Korea by the U. S. Army and Syngman Rhee's government, and called on Korean Chinese to join the war for the victory of North Korea's socialist revolution. In addition, for the Korean Chinese in China, this period was the time that the ideological tendency played a more important part than ethnic identity. On the other hand, People Who Know Happiness showed that the desire of the individual should be erased in front of the significance of nation building and indicated that it's possible to be realized by treating Mao Zedong as an idol. During the New China's construction period, the Korean-Chinese youth, not only the national identity but also formed a personal identity as Chinese citizen. In this way, Kim Chang-keol's Works After Liberation showed the fate of the Korean Chinese, the change and development of their identity and the diaspora living of the Korean people who are a minority and Chinese citizens.

• Journal of Popular Narrative
• /
• v.25 no.1
• /
• pp.217-247
• /
• 2019

This research paper intends to examine the intertextuality of Klaus Mann's novel Mephisto (1936) and István Szabó's film Mephisto (1981) and how the derivative contents (i.e., film) accepted and improved the schematic aesthetics of conviction in original contents (i.e., novel). In general, the aesthetics of conviction is applied to criticize the state socialism of the artists of the Third Reich or the ideology of the artists of East Germany from a biased ethical perspective. Mephisto is also based on the aesthetics of conviction. Thus, it would be meaningful to examine the characteristic similarity and difference between Klaus Mann's real antagonist (i.e., Gustaf Gründgens) and fictional antagonist (i.e., Hendrik Höfgen) from a historical critical perspective. In this process, an aesthetic distance between the real and fictional antagonists would be secured through the internal criticism in terms of intertextuality. In this respect, the film aesthetics of István Szabó are deemed to overcome the schematic limit of the original novel. The conviction in both the novel and film of Mephisto pertains to the belief and stance of a person who compromised with the state socialism of Nazi Germany, i.e., succumbed to the irresistible history. Klaus Mann denounced Mephisto's character Höfgen (i.e., Gründgens in reality) as an "Mephisto with evil spirits" from the perspective of exile literature. For such denunciation, Klaus Mann used various means such as satire, caricature, sarcasm, parody and irony. However, his novel is devoid of introspection and "utopianism", and thus could be considered to allow personal rights to be disregarded by the freedom of art. On the contrary, István Szabó employed the two different types of evil (evil of Mephisto and evil of Faust) from a dualistic perspective (instead of a dichotomous perspective of good and evil) by expressing the character of Höfgen like both Mephisto and Hamlet (i.e., "Faust with both good and evil spirits). However, Szabó did not present the mixed character of "Mephisto and Hamlet (Faust)" only as an object of pity. Rather, Szabó called for social responsibility by showing a much more tragic end. As such, the novel Mephisto is more like the biography of an individual, and the film Mephisto is more like the biography of a generation. The aesthetics of conviction of Mephisto appears to overcome biased historical and textual perspectives through the irony of intertextuality between the novel and the film. Even if history is an irresistible "fate" to an individual, human dignity cannot be denied because it is the "value of life". The issue of conviction is not only limited to the times of Nazi Germany. It can also be raised with the ideology of the modern and contemporary history of Korea. History is so deeply rooted that it should not be criticized merely from a dichotomous perspective. When it comes to the relationship between history and individual life, a neutral point of view is required. Hopefully, this research paper will provide readers with a significant opportunity for finding out their "inner Mephisto" and "inner Hamlet."

• The Journal of the Korea Contents Association
• /
• v.17 no.11
• /
• pp.82-89
• /
• 2017

This paper intends to examine how North Korea has incited and persuaded its people by figuring out the structure regarding the meaning creation of its documentary film "Kim Jong-un, the Respected Comrade Supreme Commander, Giving On-site Guidance on the Grand Project of the People's Army" produced in 2015, which was North Korea's politically important year. The analysis results show that its narrative structure of the film took the form of an introduction, body, and conclusion to substantiate it obviously given theme. Its imaging techniques are geared towards uplifting the public's combat mentality and its sound contributes to achieving their adherence. In this regard, its film literature has the following meaning structure: first, the film takes the form of both film annals and the structure for the public to easily comprehend; second, the film clearly demonstrates its deep-rooted theme asking for the public to follow in the footsteps of the party's late father for its leadership; and third, the film also aims to establish the images of an always awake working leader by implanting and arranging the leader's diligence about his revolutionary activities in the documentary film. North Korea's documentary films serve as a weapon used for instigating revolution and construction. Given this, the producers of all documentary films have made sure to turn film literatures into the film literatures of the great leader. It was identified that under the social vision that the Kim Jong-un regime is a "socialist civilized country", he has tightened his grip on power in North Korea through the propaganda tool of film literatures.

• Journal of Studies in Bibliography
• /
• no.75
• /
• pp.179-192
• /
• 2018

This article examines the general status of the Censored texts, censorship status, censorship characteristics and meaning, which were confirmed through the Korean Old novel's Censored Edition and Napbon. The censored texts version of the Korean novel can be divided into manuscripts, woodblock-printed books written with chinese characters and Hangeul, old printed novel. Korean Old novels were also censored during the Japanese colonial period but the actual censorship did not reflect the instructions issued during the publication process. This can be said to be a feature of the old book censorship when compared with the modern/modern literature, magazines, and socialist books. As such, the novel was censored but relatively loose, so the publishers focused on publishing the novel. As a result, during the Japanese colonial period, the number of readers increased, and the publishing house was booming, resulting in duplication of the same works by different publishers. In the meantime, academics have discussed the reason why the novel has become popular from the 1910s to the 1930s. But I could not discuss it in terms of censorship and Nap-bon. Now we need to approach this aspect.