• (The) Research of the performance art and culture
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• no.18
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• pp.283-314
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• 2009

This paper is an attempt to examine historical drama which change rapidly in the manner of seeing history. Historical records are treated differently unlike in the field of modern history. Now the distinction between historical facts and fictions becomes no longer important. This change is affected by micro history, new cultural history, or post-modern history. History and narrative become interactive each other. In this respect they are no more historical drama. by Han Areum (director Suh Jae-hyung) represents this new trends. Of course, it doesn't suddenly pop up in 2005. It began in by Lee Yoon-Taek, was reinforced in by Kim Tae-Woong, and bloomed in . I intended to search important features of by following three. First is the interest about unimportant persons such as a maid of honor, an eunuch. In , they are the main characters. The author described much about those trivial people revealing the truth in different way of the existence. Second is the way of calling a past. In this piece, the past is not continuous. The past always appears at the stage by the present in the form of split which is imagination, recollection, revival. Third is a mixing genre. Comics, melodrama, and thrillers are all together in . This is a similar phenomenon to historical novel and movie of new trend. Strictly speaking, this piece isn't a history thriller. The accident of lost prince doesn't be treated importantly and the result isn't clear either. In this piece, detective genre is used for a symbol showing that writer pursuits the history, not the event. This represents well the characters of new historical drama because how historical facts are carefully recreated and constructed are important. It's enough to show the possibility to mix genre through comics and melodrama.

• The Journal of the Convergence on Culture Technology
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• v.9 no.4
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• pp.351-356
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• 2023

The purpose of this study is to analyze how the movie <The Book of Fish> (2021) represents Joseon, which is slowly collapsing with the Neo-Confucian order of the 19th century shaking, and to discuss its meaning. Prior to the analysis, the analysis framework of the historical drama was presented considering the narration characteristics of the historical drama. Using the analysis framework of historical dramas, we confirmed that <The Book of Fish> is representing the image of Jeong Yak-jeon and Jang Chang-dae living their lives as independent individuals between the limitations and possibilities of the times based on the plot structure of the narrative of exile. Through the central memory and surplus memory created through plot and style elements such as contrast between black and white and color images, voice-over narration, chinese poetry subtitles and music, the film asks us universal questions about what it takes to live as an independent individual.

• 베이커리
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• no.1 s.318
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• pp.76-80
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• 1995

1.초컬릿의 기원2,수작업에 의한 초컬릿생산3.코코아 빈에서 페이스트로의 대량생산 4.코코아 빈에서 초컬릿까지 대량생산 5.다양한 초컬릿 생산품의 역사

• The Korean Publising Journal, Monthly
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• s.167
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• pp.16-17
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• 1995

• Journal of Popular Narrative
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• v.26 no.1
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• pp.175-209
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• 2020

This paper examines how the cinematic representation of the Japanese military "comfort women" stimulates 'imagination' in the realm of everyday life and in the memory of the masses, creating a common awareness and affect. The history of the Japanese military "comfort women" was hidden for a long time, and it was not until the 1990s that it entered the field of public recognition. Such a transition can be attributed to the external and internal chronopolitics that made possible the testimony of the victims and the discourse of the "comfort women" issue. It shows the peculiar status of the comfort women history as 'politics of time'. In the same vein, the cinematic representations of the Japanese military "comfort women" can be found in similar chronopolitics. The 'comfort women' films have shown the dual time frame of the continuity and discontinuity of the 'silence'. In Korean film history, the chronotope of the reproduction of "comfort women" can be divided into four phases: 1) the fictional representations of "comfort women" before the 1990s 2) documentaries in the late 1990s as the work of testimony and history writing, 3) melodramatic transformation in the feature films in the 2000s, and 4) the diffusion of media and categories. The purpose of this article is to focus on the first phase and the third phase in which the issue of 'comfort women' is represented in the category of popular fiction films. While the "comfort women" representations before 1990 were strictly adhering to the framework of commercial movies and pursued the sexual exploitation of "comfort women" history, the recent films since the 2000s are experimenting with various attempts in the style of popular imagination. Especially, the emergence of 'comfort women' feature films in the 2000s, such as Spirit's Homecoming, I Can Speak, and Herstory, raise various questions as to whether we are "properly" aware of issues and how to remember and present the "cultural memory" of comfort women. Also, focusing on the cinematic representation strategies of the 2000s "comfort women", this article discusses the popular politics of melodrama, the representation of victims and violence, and the feature of 'comfort women' as meta-memory. As a melodramatic imagination and meta-memory for the historical trauma, the "comfort women" drama shows the historical, political, and aesthetic gateways to which the "comfort women" problem must pass. As we have seen in recent fiction films, the issue of "comfort women" goes beyond transnational relations between Korea and Japan; it demands a postcolonial task to dismantle the old colonial structure and explores a transnational project in which women's movements and human rights movements are linked internationally.

• (The) Research of the performance art and culture
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• no.18
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• pp.201-221
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• 2009

This paper is a historical study on mime or pantomime in the chinese theater. What is the origin of chinese mime? This is a very difficult question to answer. But I thought its early model can be found in actions of ancient actors who are believed to precede any genre of theater and actually I could found a very significant proof in historical records which have been ignored generally. It is an episode of Youmeng(優孟) in Chu(楚) dynasty. According to this episode, the history of chinese mime has lasted at least over 2600 years. In my opinion, chinese mime had been organized in ritual genre in early theater and its development had been mostly based on the jiaosehangdang-system(脚色行當制). Most chengshi-movements(程式動作) of zuo(做) and da(打) have been organized in recent several centuries. But a further study on them shows us that the real origin of them is the ancient dance wu(舞). Afterwards the wu(舞) separated into two types of dance the so-called wenwu(文舞) and wuwu(武舞). So we can say that wenwu(文舞) and wuwu(武舞) had a direct influence on most chengshi-movements(程式動作) of zuo(做) and da(打).

• (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.