• Title/Summary/Keyword: 서사담론

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Burning and The Ethical Subject (영화 <버닝>과 윤리적 주체)

  • Kwak, Han-Ju
    • Journal of Popular Narrative
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    • v.26 no.4
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    • pp.117-144
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    • 2020
  • The film Burning (Lee Chang-dong, 2018) is one of the most noted Korean films in recent years as a work that unfolds an elaborate narrative in a delicate visualization. This film is a multi-vocal text in which different types of characters appear and scattered objective facts and ambiguous subjective desires are intertwined, so it is a text that has room for diverse interpretations. This article attempts to read Burning as an ethical discourse centered on the protagonist Jong-su, noting that the film raises universal and significant ethical issues that transcend the specific social and historical conditions of a contemporary Korean youth. I would like to examine the situation in which Jong-su is facing and his reaction to it, above all, from the perspective of Jong-su's ethical awakening and leap forward. Jong-su, a young South Korean non-regular man living in the present, encounters and connects with Hae-mi and Ben and attempts to understand the mysteries of the world. His trajectory, which the film shows closely, inevitably intersects the social and historical dimension of confusion and frustration of a young man graduated from the Department of Creative Writing, the reality of family dissolution and the individual psychological dimension of the sudden disappearance of his lover Hae-mi. Burning is a magistrate film that depicts Jong-su as an ethical subject oriented toward 'communal togetherness' while confronting the world and exploring its mysteries despite all his unfavorable conditions, such as his social position of the precariat youth and the epistemological uncertainty of reality perception. It is read as a story of his painful growth, in which Jong-su is becoming a 'writer', who once was a helpless non-regular delivery worker.

Convergence Methodology in Film Education (영화교육의 통섭방법론)

  • Yook, Jung-Hak
    • The Journal of the Korea Contents Association
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    • v.14 no.12
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    • pp.607-617
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    • 2014
  • This article aims to explain some academic subjects based on the film, and accordingly investigate how they are to be converged and then educate individuals. The reasons why should be chosen as a text are as follows: this film is said to be fictional, but based on historical fact. Then, it attracts national attention. Third, it induces the spectators to judge the value of conscience, law, and morals, through the trial process, for themselves and leads them to raise the awareness of the historical, and political conditions at the time. Last, but not least, it contributes to the discourse on various type of men in contemporary days, by dint of analysis on the main characters. The results of the research are listed below: most of all, literature education(Korean language) could be proceeded with the help of epic analysis on . Secondly, considering the film develops the story using political allegory as discussion, along with the historic situation in those days, learning on history and politics could be made possible. Third, the film could be undoubtedly used to conduct the education of law and morality, forming the argument on required law and morals corresponding with ideological circumstance. Finally, education on film analysis could be conducted, by means of examination of the main characters. The analysis on the major characters helps to teach what it would be like for people to become the right ones, by both representing the members of society and determining the quality of life and relationship.

Comparison of Perceptions on 'Postwar' Between the History of Korean Literature and the History of Japanese Literature ('전후'에 대한 한일문학사 인식 비교 - 한국전쟁을 둘러싼 상반된 해석과 담론 -)

  • Cho, Jung-min
    • Cross-Cultural Studies
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    • v.52
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    • pp.223-251
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    • 2018
  • This paper comparatively considered how Korea and Japan address the concept of 'postwar' in descriptions of their literary history. In Japan, 'postwar' refers to the period after World War II (Asia-Pacific War). This word implies a variety of contexts such as collapse, poverty, confusion, calendar reform, reconstruction and restoration as well as a series of historical events such as war, war defeat, and American occupation; and so it has been treated in Japanese society a significant period. In the history of Korean literature, it is after national liberation that the word 'postwar' appeared; however, it has usually indicated 'the period after the Korean War.' The question is that although the term of postwar refers to periods after different wars, Koreans used the term of postwar also in the same way as Japan, and their concept of postwar overlaps with the concept of prewar or postwar used in Japan, and accordingly, side effects are produced that fail to grasp properly the independent characteristics and significance of the Korean War. In conclusion, the Korean War brought about contrasting effects on the history of Korean and Japanese literature. While the Korean War meant a start after the war in Korean literature, it became a turning point marking the end of postwar in Japanese literature. Such different perceptions on postwar also have major implications in that perceptions represent postwar discourses in today's Korea and Japan.

An Exploratory Study on the Authenticity Discourse Strategies of Popular Music Audition Programs - Focused on - (대중음악 오디션 프로그램의 진정성 담론 전략에 관한 탐색적 연구 - <미스터트롯>을 중심으로 -)

  • Lie, Jae-Won;Kim, Won-Gyum
    • Journal of Korea Entertainment Industry Association
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    • v.15 no.6
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    • pp.1-13
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    • 2021
  • This study explored the mechanism by which Trot gained a superior position in the broadcasting contents market after the TV Chosun audition program was broadcast. We analyzed the narrative structure of the program to determine what differentiation and popularization strategy the trot audition program took from the existing audition program, and analyzed in-depth interviews with music experts and interviews with the production team. appealed to viewers with a strategy that reversed the success strategy of existing audition programs. First, the strong/non-competent participants did not compete with each other, but rather the strong/skilled players competed against each other. This trot audition set the singing ability as a new 'discourse on sincerity'. Second, we broke away from the 'demon editing', which was considered essential for audition programs, took a strategy of excluding villains. Third, we broke the practice of audition programs that were supposed to show expertise in specific genres, such as idol music, hip-hop, and bands, and combined trot with various genres. Fourth, unlike previous audition programs that mainly targeted specific generations or genders, the strategy was to expand the audience by targeting various age groups. Fifth, it has formed a middle-aged fandom with a 'subtitle strategy' that uses subtitles well to arouse viewers' interest and help empathize.

A study on older adults' response to image of older adult (노년담론에 대한 노인의 인식과 대응에 관한 질적 연구: 자아상과 노인상의 차이를 중심으로)

  • Lee, ji young
    • 한국노년학
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    • v.29 no.3
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    • pp.1001-1024
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    • 2009
  • This study investigates what older adults have image of older adult with relation to their self-identity. Fourteen participants are interviewed in this study. The main findings are as follows. Their response to image of older adult is divided in the form of 'denial' and 'accommodation' about social images of older adults. 'Denial' has 'total denial' and 'selective denial' while 'accommodation' includes 'acceptive accommodation', 'selective accommodation' and 'unwilling accommodation'. 'Total denial' indicates that the participants describe older adults very negatively, and they regard themselves as a person who is totally different from the older person they describe. 'Selective denial' represents that the participants have two types of older adults: negative and positive. They describe that they are close to the positive type of older adults themselves although they do not admit that they are older adults. 'Acceptive accommodating' does not describe older adults negatively, and they identify themselves as older adults. 'Selective accommodating' are very similar to 'selective denial' although the former differs from the latter in that they accept that they are older adults. 'Selective accommodating' also includes negative and positive types of older adults, and this type of participants admit that they are older adults, and believe that they belong to the positive type. In contrast to 'acceptive accommodating', 'unwilling accommodating' describes older adults very negatively. However, the participants belonging to 'unwilling accommodating' comes to accept that they are older adults due to irresistible realities.

A Semiotic Analysis of JTBC : Focusing on Significance of Ideology (드라마 <송곳>의 기호학적 분석 : 이데올로기적 의미를 중심으로)

  • Tae, Bora;Choi, Mideum
    • The Journal of the Korea Contents Association
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    • v.16 no.6
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    • pp.54-62
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    • 2016
  • This study conducted semiotic analysis of drama . Based on Paradigm, Syntagm concept, I apprehended the characteristics of descriptive structure of drama, characters and contemplated on ideology reflected in the drama. As a result, it has approaching method of Critical Pluralism which strongly exposes resistance ideology. The drama intensified Classical Ideology such as gender role, hero, and family ideology, also it consists of Humane Introspection Ideology such as self-understanding, mutual-understanding, and self-serving bias.

The formal and intrinsic characteristics of the Changgeuk album (1971) and the meaning of the material (음반 창극 <사명대사>(1971)의 형식적·내용적 특징과 자료의 의미)

  • Song, So-Ra
    • (The) Research of the performance art and culture
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    • no.39
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    • pp.457-507
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    • 2019
  • The purpose of this study is to explore the formal and content features of the material for the Changgeuk album , which was produced and released in 1971. Changgeuk album was produced and published as a headword for "Changgeuk". However, it differs from the style of Changgeuk which is treated as a stage drama in that the narrative is developed around the commentary and dialogue in the formal aspect and the Pansori is only partially used. The styles of Changgeuk, implemented through gramophone record, radio broadcasts and television broadcasts, varied widely, unlike those of Changgeuk established in the 1930s. Pansori music wasn't the only center, and traditional performers weren't even the main members of the play. The characteristic form of the Changgeuk album is an experiment of Changgeuk that emerged naturally with radio reading and the advent of radio dramas in the 1950s and 1960s. So it is necessary to pay attention to the Changgeuk album in that it shows diverse forms of experiments conducted by Changgeuk in the newly introduced culture and media in the middle and late 20th century As for the contents of the Changgeuk album , the work embraces Lee Jong ik 's novel (1957), but develops the narrative centering on the life of Saint Sa-myung(四溟大師). And it is faithfully portraying the life of a Buddhist monk and the national salvation hero who pursued the original work. This content composition can be understood in the will of singer Lee Yong bae, the soundman who produced the album, and in the flow of historical dramas that summon the historical hero of the old country of the time to the stage. Singer Lee Yong bae reflects on his life in the past when he was full of greed and conceit through his life as a monk of Saint Sa-myung(四溟大師) and is greatly impressed by the personal aspect of Saint Sa-myung(四溟大師), and these emotions encouraged his creative will. Also, the Changgeuk record is meaningful in that it is one of the specific materials that embodies the national hero as a record and a traditional play under the discourse of the people, the nation in the 1970s.

Face Image in the Cinema : Based on the Early Silent Film Period (영화 속 얼굴 이미지 : 초기 무성영화시기를 중심으로)

  • Hwang, Ji-eun
    • The Journal of the Korea Contents Association
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    • v.16 no.11
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    • pp.776-783
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    • 2016
  • Discussion of facial image of the movie starts is recognized as an art movie that started from silent film period. Critical discussions on the facial image initiated with the emergence of 'close-up' are performed in the context to claim the superiority of close-up format. Therefore, the trend of critical discussion on the facial image differs from two perspectives to perceive close-up in this era. The first perspective is to privilege both face and close-up since close-up is recognized as the unique tool to realize the face considering close-up as the independent body to have new aesthetic feasibility of the movie. The second perspective is to consider close-up as one of the plots in the movie language to complete its narration. In this case, it is perceived as just a short, which has no differentiation from the others, as long as the facial image does not interfere the completeness of the narration, because the characteristics of close-up to highlight the subject more than the other short is not recognized as the unique form to complete the movie, and because it has the meaning only when the subject and the format aim to maintain the completeness of the narration.

History as Media Narrative and Representation of Collective Memory Focusing on the Prime-time Television News Reports Related with the May 18 Democratic Movement (매체 서사로서의 역사와 집합기억의 재현 5·18 민주화운동 관련 지상파방송 뉴스를 중심으로)

  • Joo, Jaewon
    • Korean journal of communication and information
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    • v.71
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    • pp.9-32
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    • 2015
  • The media, traditionally, serves to reinforce one's limited memory and transform those personal memories of society's members into collective memories. Notably, the mass media collects countless pieces of personalized memories for the creation of collective memories. Through the process of recollecting as well as recreating the past in the present, mass media exerts influence on the means the public appreciates and understands the history. Although numerous new medias like Internet overflows in today's society, television continues to stand firm as the salient means to construct the memories in daily lives. In this context, the research aims to analyze the televised news as the principal agent of memory producer to determine through which memories it recreates the $5{\cdot}18$ in today's media. The analysis of news values clarifies that every government placed distinctive news values on $5{\cdot}18$ within its historical context. Even so, such values were often fixed based on its relations to the existing political issues. Furthermore, through the discourse analysis, this research concludes that today's coverage of $5{\cdot}18$ is softening and becoming conventional.

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Romanticism of Brotherhood, Affect of 1987 -A Better Tomorrow and Hong Kong-Korea Connection (형제애의 로망, 1987의 정동 -<영웅본색>과 홍콩-한국 커넥션)

  • Yi, Young-Jae
    • Journal of Popular Narrative
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    • v.27 no.1
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    • pp.301-338
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    • 2021
  • John Woo's A Better Tomorrow arrived at the turning point of Korean society between 1987 and 1988. The Hong Kong movie boom that started here reached its peak around the 1990s. What does this phenomenon mean? Hong Kong action films have functioned as an important resource for Korean young male subculture since the late 1960s. The audience of A Better Tomorrow matches the audience of previous Hong Kong films in a generational and gendered way. The fascination of Hong Kong action films by young Korean men from 1987 to 1991 has nothing to do with Hong Kong's political context. However, a certain affect is shared between Korean and Hong Kong audiences. It could be said to be the brotherhood within the struggling group. The affective economies of this fraternity embodies the broad solidarity of 1987, the solidarity of comrades seeking to resist the violence of the world. It also works on symbolic and practical gender bias. In other words, this loyalty is nothing but loyalty between the (male) brothers who are confronting the injustice of the world. This is the "translational possibility" of A Better Tomorrow.