• Global Cultural Contents
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• no.34
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• pp.67-91
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• 2018

This article analyzed how contemporary urbanism is revealed in the digital game (2016) with the contemporary city as a setting. The city in the game is a precisely directed space, so the experience of the user in the space has a special meaning. It's because the urbanism implied in player's game experience. Urbanism is properties of the city constructed between citizen's everyday life and space. Of course, it as the self of the city is influenced by cultural tradition and modern infrastructure. Therefore, contemporary cities inherit the modernity that is standard and norm, and at the same time, it can be unique space caused by network system installed around the city. In this context, contemporary citizenry accepts the urbanism as matter of course but try to surpass the modern limits and imprisonment of the network. This challenge reveals as resistance, creativity, and amusement in the relation in contemporary urbanism. Hacking and parkour are the representative examples of resistance, creativity and amusement acts of the citizen in the virtual and non-virtual environment. A protagonist in the game is a hacker and also traceur who resist modern network power. The playable character does the hacking and parkour striding the city. And these acts melt into the worldview, interface, and visualization to represent contemporary urbanism. In this regard, hacking and parkour performed by the player character are interfaced in different ways, giving the user a creative urban experience of the city in the game. In addition, the game's high-angle view of the hacked CCTV and the low-angle view of the small device show contemporary people's play on the city. This way, city people represented in are not different from contemporary fläneur who actively practice. Consequently, the city as the space in the game contents are not just settings, but one of the important axes that implies the message of the contents.

• (The) Research of the performance art and culture
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• no.42
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• pp.47-75
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• 2021

This thesis looks into the interpretation of the Korean War and mystery genre in Korea in the 1970s by analyzing the special drama , in which the theme was directly related to the Korean War, airing through MBC in 1979. It begins by finding the change in direction in the 1970s when the world of TV was dictated through the heavy censorship and the memory of the war by the government. It also looks at the intentions of the producer who was taking in the new way and the viewers who also accepted this drama and its reflections. In order to gain some insights into these issues, it compares between the drama "The Last Witness" and the original novel by Seong-jong Kim who holds the same time to see the way in which this is dramatized. The drama, "The Last Witness", was produced with a plan to generate a high-quality special drama which combined both artistry and sense of purpose. Nevertheless, as watching TV became a leisurely past-time during this period, TV dramas become more aggressive and suggestive in order to attract viewers. This ultimately was encored with obstacles due to the regime and the heavy censorship at the time. The genre of special drama that is well known in South Korea, is designed as an art form to satisfy both their unique artistry and its purpose. The conflict is seen between the key elements of the artistic drama crated by the producers and the 'encouraged' elements that often are needed to engage the viewers. Thus, more often than not, special dramas defeat the original intention of national harmony, encouraged by the regime. This is due to the 'novelty' aspect which grows from the effort of bringing enjoyment to viewers whilst also trying to achieve the artistic drama to life. Alongside this, crime element in this drama is designed in a way that visually embodies the process of deduction, becoming a new possibility to secure the reality of the times. However, it was also a paradoxical existence since it was indicated as an example of unrefined culture that lost its original intention. In that way, it is worth to think that detective suspense stories, which were not popular in Korea, influenced viewers as a tv drama series in the 1970s through the various elements that compose the genre. They went through a process of transplantation and acceptance whilst also attempting to satisfy the viewers and their encouraged elements to engage them. As is well known, crime drama in Korea has its own style by mixing anticommunism and detective reasoning. This combination is found in the way in which the genre naturally forms through the elements selected and excluded in the dramatization of "The Last Witness". The point is that the special drama "The Last Witness" can be seen as an intermediate form that shows the tendency of transformation from the detective reasoning form alongside the crime aspects as TV dramas began to include anticommunism messaging and investigation in the 1970s. In conclusion, when the detective reasoning is used as an element in a TV drama, it shows the trust of the public system and it constantly seeks the possibility of circumventing the political interpretation. The memories of the war is seen as a tool that neutralizes the dismal imaginations inscribed on the dark side of society and the system. As a result, "The Last Witness", broadcasted at the end of the Yushin regime in Korea, is a strange result which combines the logic of a special drama and the encouraged characteristics of television dramas. The viewers' desire which is the discussion about the hidden traces from the texts needs to be restored again.

• The Korean Journal of Zoology
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• v.20 no.1
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• pp.29-40
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• 1977

The authors examined fresh-water gammarid materials which were collected from streams in 20 localities of South Korea during the period from 1965 to 1977. As the results of the observation, the authors have concluded as follows: 1. These fresh-water gammarids belong to Gammarus pulex-group and are distributed widely in mountain-streams of mainland and surrounding islands of South Korea. 2. The present specimens are different from the subspecies, G. pulex koreanus Ueno, 1940 which was described originally from North Korea. In the latter, the pulmose setae of third uropod are limited only to the outer margin of both rami. The peduncle and flagellum of second antenna are fringed with a few short setae and the flagellum is provided with calceoli. In the former, both margins of inner ramus and outer margin of outer ramus of third uropod are fringed with long pulmose setae. The peduncle and flagellum of second antenna have abundant relatively long setase and the flagellum is not provided with calceoli. 3. The present specimens are different from the subspecies, G. pulex sobaegensis Ueno, 1966 which was described originally from South Korea. The latter dwells in cave, while the former dwells in mountain-stream. In the former, the arrangements of pulmose setae of third uropod and the setation of second antenna are similar to those of the latter. But they are quite different from each other in several characters such as shape of upper lip, shape of fifth article of second gnathopod and numbers of incisions on front distal margins of coxal plates 1-3. The former has spines on surface of coxal plates 1-3, but the latter has not. In females, the former has four pairs of marsupial plates, while the latter has three pairs. 4. The present materials show local variations. Therefore, they could be divided into 3 local groups. The first group (specimens from Mt. Odae and Mt. Sogeumgang) has pulmose setae on the both margins of both rami of third uropod and second article of outer ramus is relatively long. In general, this group has setae sparsely on the both rami and especially a few setae on the outer margin of outer ramus. The second group, which are widely distributed in South Korea, has pulmose setae on the both margins of inner ramus and on the outer margin of outer ramus of third uropod. In the third group (specimens from Mt. Soyo), the pulmose setation of third uropod is similar to that of the first group, but the second article of outer ramus is very small.