• Journal of Digital Contents Society
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• v.15 no.5
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• pp.613-620
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• 2014

Gender Representation of animation character that is discussed in this essay is a semantic discourse that is related to communication with contemporary audience. For gender Representation of animation character, as it can be thought that linguistic elements for signification with audience are materialized, it has a significant value when it comes to communication with audience. Commercial success of Disney's feature length animation Frozen is from excellent aesthetic principles and techniques and global marketing capabilities of Disney studio. However, independent and active gender representation of Elsa and Anna in Frozen are more important commercial successful elements. Especially, Gender representation of these two characters reflects myth of women who live in this modern society so their linguistic meaning can appear affluently. That also means that those two characters have advantages, in terms of communication, that can have effective signification with contemporary audience as linguistic sign. And those advantages are signification foundation that Frozen can be commercially successful by communicating with audience all around the world.

• The Journal of the Korea Contents Association
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• v.13 no.3
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• pp.54-64
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• 2013

This study is on Hollywood's latest romantic comedy movie , attempted to identify whether nationality or gender difference of the movie audience is affecting on their acceptance to the genre characteristics of Hollywood's romantic comedy. Most of Hollywood's romantic comedy movies are centered on attraction of female and male actors and its' formulated plot (boy-meets-girl, boy-loses-girl, boy-gets-girl structure). Although the movie is following the formulated romantic comedy plot, it shows a variation from the typical romantic comedy genre. In this thesis, based on audience research data, statistics and interrelationship analysis on audience value orientation, we elucidate how Korean and American, Female and Male movie audience have different preference to actors and characters in the movie and representation of archetypal Hollywood romantic comedy happy ending such as propose and wedding scenes.

• The Journal of the Korea Contents Association
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• v.16 no.4
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• pp.241-249
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• 2016

This study focuses on Korean independent documentary Unnie dealing with prostitution in Korean society. Not only does it discuss profuse discourse about Unnie such as politics of the film, Korean independent documentary as a tool of struggle, an organized narrative for anti-prostitution and social power of the film but also it deals with prostitution matters related with the film such as prostitute rights, anti-prostitution and pro-prostitution. And it diagnoses possibilities of modifying audiences' recognition and participatory spectatorship with Unnie, conducting a survey of 202 undergraduates.

• Cross-Cultural Studies
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• v.44
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• pp.191-209
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• 2016

This article aims to analyze the perception of Korean-Chinese in South Korea to understand the mentality of South Korean people in a multicultural society through exploring Korean films in which Korean-Chinese characters have been represented since 2000. For this purpose, Korean-Chinese characters represented in Korean Films are divided into male and female. It could be said that South Koreans are biased against Korean-Chinese, who are considered 'others' under the economic and cultural hierarchy. Female characters are presented as 'pure' and 'frail' in the migration narrative while male characters are 'indecent' and 'brutal' individuals in crime narrative films. Meanwhile, Haemoo [Sea fog] is a story about economically weak Koreans and Korean-Chinese who were in economical conflict with each other, but were victims of the economical restructuring systems under neo-liberalism.

• Journal of English Language & Literature
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• v.55 no.4
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• pp.745-765
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• 2009

The Eighteenth Century Shakespeare's Women Audiences: From Objects of Sexual Appetite to Ladies of Quality Abstract Younglim Han (Kyungpook National U) This paper aims to give an account of the eighteenth century Shakespeare's women audiences who marked a turning-point in the history of Shakespeare's popularity. The 1736 formation of the 'Shakespeare Ladies Club' as a leading group of the female audience encouraged the theater managers to perform more Shakespeare. Stage productions relied more than ever on the favorites of women audiences. The establishment of female patronage was associated with the popularity of Shakespeare's crossed-dressed comedies and actresses in 'breeches' part. The outstanding achievement of the Ladies was their contribution to the promotion of Shakespeare's status as an embodiment of British culture and the acknowledgement of the dignity of national literature. They were successful in securing the native sense of Shakespeare in place of Italian opera and Harlequin pantomime. The recognition of the national significance of Shakespeare led a campaign to erect his monument in Westminster Abbey. The female audience's claim to the respectable Shakespeare provided the stimulus for transforming his plays in the interests of family values such as marital duty and domestic morality. Marina (1738), George Lillo's adaptation of Pericles that was dedicated to the Ladies, was an exemplary case. The domestic versions of Shakespeare stressed the importance of women characters and the idealization of them. Thus the reception of Shakespeare in the eighteenth century was characteristic of formulating the women audiences-performers-characters association. The female yearning for a refined theater was a significant achievement, considering its influence on ways of establishing the canonical Shakespeare in the eighteenth century.

• The Journal of the Korea Contents Association
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• v.12 no.4
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• pp.108-118
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• 2012

In Korean society entered into an aging society, seeing aging women's lives, the lives of older women through women's eyes means, in a sense, calling the older female audience as the subject. On International Women's Film Festival in Seoul (2006), and now in South Korea opened with the title (2002) through the respective movies understanding 'aging' and the way represented older women will be discussed. shows grandma Marta's a pleasant commotion drew with the villagers, family and friends until openig Lingerie Shop brought in her own sewing skills. challenges social prejudices regarding dementia and the brutality, and reflect the meaning of the 'the provision of care for the elderly' in a circle around bond of the mother-in-law and daughter-in-law There is difference of the producig region of made in Switzerland and made in Japan. Nevertheless, women's solidarity and alone 'late blooming flowers, cut back, even if the theme of encapsulate life through a person as a new subject to buy back more than once on the community have to be made is significant hope.

• Cartoon and Animation Studies
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• s.17
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• pp.117-132
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• 2009

The purpose of this study is to analyze the way of representing women in and which producted and released in 1972, the year of Revitalizing Reform System starts. Each films intended to construct some conventional popular codes for persuading the public. Considering this contexts, it is true there was a little difference between these two films and the national cinema which undertaken on a full scale after Revitalizing Reform System started. But we can also find that each films revealed the intention of ruling ideology suturing the opposite values resulted by the specificities of Modernizing project during the Park Chung-Hee reign using a strategy which represents women officially. These women who were wholly integrated with the official discourses would proposed a ideal stereotype which supports the Developmental mobilization regime and through this strategy the Park Chung-Hee reign wanted to construct a new group identity of women as the very proper elements of Nation.

• Journal of Digital Convergence
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• v.11 no.2
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• pp.385-390
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• 2013

The meaning of things appeared in the frame vary according to how they look in a shot. Especially, position of frame shows how a form becomes a content in quality. This has a large impact on communication with audiences, reminds them a special feeling or atmosphere toward an object and plays a suggestive role for things that shows up. Thus, this study aimed to investigate how symbolisms appeared in the frame position are shown in the relation among characters' narrative, personality and conflict and understand correlation between frame position and characters accordingly. As an object to be analyzed, this study selected which was played with narratives of couples with different personalities. The results of analysis shows that it is deeply associated with couples' narrative, which means that trauma or the severance of relations between a couple is shown on left side, whereas a positive and future-oriented couple was mainly shown on right side and the rate of being situated in the center turned out to be high according to the power relations of love. Based on the comparison between symbolism appeared according to the frame position and narratives and traumas that various characters have, this study found that frame position is playing an important role in composing characters' personality.

• The Journal of the Korea Contents Association
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• v.17 no.8
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• pp.414-421
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• 2017

After the Korea-Japan comfort women's agreement, two films and were released with the audience's attention. Both films deal with the friendship of 'comfort women' girls. Unlike the existing 'comfort women' narratives, these two films are building a women's space based on a kind of sisterhood. The emergence of a new generation extends the story of personal friendship to the community level of sisterhood. In particular, suggests the possibility of a testimony that the 'comfort women' grandmother passes testimony to a new generation of women. In the cinematic present, it shows the possibility of feminist thinking of the 'comfort women' narrative. However, the representation of the colonial period does not deviate much from the existing patriarchal nationalistic viewpoint. It is typical that the 'comfort women' characters are still set with a pure and innocent girls of Chosun era.

• Cartoon and Animation Studies
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• s.40
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• pp.315-336
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• 2015

Since it is imperative to share the values with the spectators to convince the public of the era, the main characters of a story that underwent numerous adaptation through time would change gradually. This paper examined changes of the main characters in various versions of Cinderella. Until the mid-20th century, Cinderella would be portrayed as a meek, passive and obedient girl as in the original fairy tale version of Perrault. As moving to 70s, a heroine who acts with her own feelings and thoughts began to appear. In the 90s, spectators could meet a protagonist who fought fiercely to be the owner of her own fate, and in the recent Disney movie, Cinderella stood up for herself while accepting herself as she was. The prince character also underwent similar transition. In the early versions of Cinderella, the prince would be a vague figure with a title who was desired by all maids in the country. It is in the 70s that the prince began to be portrayed as a person who has his own problems. In the recent years, the spectators could see the process that the prince transformed from a naive aristocrat to a man with responsibilities. In modern society, women have more social opportunities compared to the past, and women's social statuses do not need to be secured by relationship with men any longer. Thus Cinderella story is not as popular nowadays, moreover somebody whose dream is becoming Cinderella would subject to social reproach. However, beside the gender, the story could be the only hope for people who feel a sense of helplessness that there is no chance in their lives. As result variations of Cinderella story will go on as long as people of social deprivation exist.