• The Journal of the Korea Contents Association
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• v.15 no.6
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• pp.191-202
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• 2015

This research aims to analyse gender identity and its internal meanings through the main character, Laurence, of the movie (2012) directed by French-Canadian film maker Xavier Dolan. Study examines performative gender identity revealed through the fashion images of Laurence who was born biologically as a man; depending on a theory of Judith Butler who represented a parody, repeatability action, and incorporation as an effect of gender identity. Also 'Internalization of others' and 'Dis-identification' are presented as an internal meanings of Laurence's gender identity which appeared on his(her) fashion images. Laurence parodies woman's fashion styles in repetition to obtain feminity as his(her) appearance. His(her) repetitive actions are construing an internalizing others(women) and visualizing a new-self to become a stylized doer. Dis-identification signifies that gender can be reconstructed regarding the differences of the place and the time and reconstructed outside can be analyzed as externalization of internalization. 'Becoming a woman' means more than what it sounds like to Laurence. It means a new signification of being a woman or redefining gender identity. That is something can be called a genuine transformation and a grant leap for Laurence.

• Digital Contents
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• no.2 s.117
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• pp.88-97
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• 2003

새로운 기술의 도입은 저작권 제도를 변화시키고 있다. 인쇄술의 발전에 따라 저작권의 보호에 대한 법제화가 이루어 졌고, 방송기술의 도입에 따라 방송권, 영화기술의 발전에 따라 영화에 대한 권리, 사진기술의 발전에 따른 사진에 대한 권리, 인터넷 등 정보통신 기술의 발전에 따라 전송권이 새로운 저작권자의 저작재산권의 한 유형으로 편입되고 있다. 이렇듯 저작권법은 기술의 발전에 따라 새로운 유형의 권리를 정책적 견지에서 수용하고 있으며, 앞으로도 예견되지 못한 기술의 출현에 따라 법의 개정은 이루어질 개연성이 크다.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.151-156
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• 2019

In recent years, the Korean realistic theme of the film momentum gradually rising. Realistic films do not stick to the business and market, and do not simply cater to the audience's needs for watching movies. They reflect social violence and cruel reality, allowing the audience to observe the structural contradictions in reality and think about the direction when watching movies. At the recent cannes film festival, "parasite" won the top prize palm in cannes by an overwhelming margin, with the highest score of 3.3 issues. Although this film is positioned as a thriller with comedy elements, it presents the opposite life images of Korean classes to the audience in a parasitic way, which not only expands the possibility and artistry of realistic film aesthetics, but also enhances the appreciation of the film and gives play to its own aesthetic value. Focusing on the technical and literary nature of the film, and having a high degree of attention to real life, it is an excellent work that tells about class opposition and thinking about reality. This paper considers and analyzes the content, form and creation method of parasite, and discusses the continuous exploration and attempt of realistic film to image language under the demand of market and system, evolving into new aesthetic expression.

• Journal of Digital Convergence
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• v.15 no.10
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• pp.437-444
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• 2017

Christopher Nolan's film "Inception (2012)", which depicts the world of dreams as a unique space-time and opens a new chapter in the expression of dreams, portrays the dreamy world of unconsciousness. However, I can find limitations and contradictions in the expression of the actual dreams and essence of unrealistic structures and forms. I can find David Lynch's movies "Mulholland drive (2001)", which are closer to Freud's psychoanalysis in expressing the actual presentation process of dreams Through comparative analysis, I try to analyze the interpretation and context of the dream mentioned by Freud. The film "Inception" can be appreciated in terms of space time and rich imagination created from the point of view of science fiction movies, but it shows that logical reasonability is weak in view of applying the essence of dream. On the other hand, the film "Mulholland Drive" describes the illogical, confusing and unhappy feeling of unconsciousness by giving logic and order based on the interpretation of Freud's psychoanalytic dreams, is. In this way, it is possible to portray more realistic scenes of dreams only through the portrayal of dreams and unconsciousness based on Freud's psychoanalytic viewpoint.

• The Journal of the Korea Contents Association
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• v.11 no.11
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• pp.111-119
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• 2011

Movie research in the 1980's structuralism looks tendency to escape director or text research and analyze spectator or inspection action. These post-structuralist divert interest by analytic convention of spectators in analysis by director's intention or text type correctly. There is the age that spectator, inspectional action and inspectional subject weighs more than director, work and text itself. But, inspection of movie can be person's enemy by director's narrative strategy or spectator's analytic quality that depend on a text and spectator and their interaction usually, and only method to acquire universality chooses full analytic discourse to principle. We should be structured by symbol system that the event is consisted of movie language to reappear the event through narrative in movie and this symbol system, director's narrative strategy can cause fixed esthetic distance between spectator. Researches to analyze this distance need to keep universal validity as much as being accepted by effort to gap with director and spectator. Therefore, narrative poetry that I analyze movie narration style by 'narrated' and unit of 'narrating' and study the form and function so-called, is going to follow narratology's access method. The consistent argument of this narrative poetry is that story is consisted of the events and these observe to structured thing by unit that is sequence through arrangement with the other event that adjoin in the event. Also, director need consensus with spectator to reappear connection of this event logically and it is thing which this reappearance form can be done characteristic by narrative strategy in directing. I am going to try narrative structure analysis of movie by narrative that is connected at structure of the event and 'narrating-narrative acts' that is interested in way to reappear this story to spectator hereupon. Of course, at process of research, Roland Barthes and his followers wish to apply 'narrative function' and concept of 'narrative acts' that prefer from time to time.

• The Journal of the Korea Contents Association
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• v.10 no.2
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• pp.146-154
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• 2010

Argument on the postmodernism of philosophy and history, epic and effect, and culture and art is becoming more ambiguous in scope due to digital technology development. Digital technology makes to change of aesthetic approach over the length and breadth of art and culture including medium art. Analysis of Digital images is changed from presence of images to feature analysis of images which is made by digital technology, and raise the question of how to analyze the images of reproducing digital technology focused on realism. Digital image, focused on hyper reality, should be approached not by film aesthetic approach but by shot unit. Due to emphasizes image reality reproduction by frame unit and not the short unit of the narrative approach, the artistic approach should differ from previous realism practice. Particularly, when considering movies which is focused on illusion, the realistic approach should be realized not in the of realistic approach in narrative aspect but in the aspect of realistic approach in painting aspect.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.181-190
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• 2020

Asura: The City of Madness, which was released in 2017, attracted great attention even prior to its release with the combination of Director Kim Sung-su, and actors, Jung Woo-sung, Hwang Jung-min, Ju Ji-hoon and Kwak Do-won. Faithful to its genre as a crime film of film noir, Asura: The City of Madness created multi-layered issues by the overthrow of the archetypal hero character and variation of the heroic narrative structure drew diverse interpretations among both critics and viewers alike. This study aims at analyzing the heroic narrative structure of Asura: The City of Madness based on Christopher Vogler's "The Hero's Journey" and examining how the universality and typicality of narrative structures as mentioned by Vogler are applied to this film. Although the universal and typical characteristics of all narrative structures cannot be analyzed through Christopher Vogler's The Hero's Journey, five atypical characteristics could be derived from this film that deviate from the universality mentioned by Christopher Vogler by looking at the characteristics of the heroic narrative structure implemented as Han Do-kyung, the leading character and a "hero," proceeds through the 12 stages. This study examines which variations such atypical characteristics brought to the heroic narrative structures in crime films what has changed in audiences' expectations, and how it could work as an alternate narrative.

• (The) Research of the performance art and culture
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• no.43
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• pp.47-78
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• 2021

This study was written to examine the acceptance of pansori in movies based on pansori, and to explore changes in modern society's perception and expectations of pansori. A pansori is getting the love of the upper and lower castes in the late Joseon period, but loses the status at the time of the Japanese colonial rule and Korean War. In response, the country designated pansori as an important intangible cultural asset in 1964 to protect the disappearance of pansori. Until the 1980s, however, pansori did not gain popularity by itself. After the 2000s, Pansori tried to breathe in with the contemporary public due to the socio-cultural demand to globalize our culture. And now Pansori is one of the most popular cultures in the world today, as the pop band Feel the Rhythm of KOREA shows. The changing public perception of pansori and its status in modern society can also be seen in the mass media called movies. This study explored the process of this change with six films based on pansori, from "Seopyeonje" directed by Lim Kwon-taek in 1993 to the film "The Singer" in 2020. First, the films "Seopyeonje" and "Hwimori" were produced in the 1990s. Both of these films show the reality of pansori, which has fallen out of public interest due to the crisis of transmission in the early and mid-20th century. And in the midst of that, he captured the scene of a singer struggling fiercely for the artistic completion of Pansori itself. Next, look at the film "Lineage of the Voice" in 2008 and "DURESORI: The Voice of East" in 2012. These two films depict the growth of children who perform art, featuring contemporary children who play pansori and Korean traditional music. Pansori in these films is no longer an old piece of music, nor is it a sublime art that is completed in harsh training. It is only naturally treated as one of the contemporary arts. Finally, "The Sound of a Flower" in 2015 and "The Singer" in 2020. The two films constructed a story from Pansori's history based on the time background of the film during the late Joseon Dynasty, when Pansori was loved the most by the people. This reflects the atmosphere of the times when traditions are used as the subject of cultural content, and shows the changed public perception of pansori and the status of pansori.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.135-158
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• 2019

The purpose of this paper is to elucidate the characteristics that make Guillermo del Toro's film Pan's Labyrinth (2006) a fantasy film, and the meaning and function of the labyrinth motifs closely related to it. Tzvetan Todorov defined the 'fantastic' as the hesitation between natural and supernatural interpretations in the face of supernatural events that invade reality. In Pan's Labyrinth, the fantastic continues to be seen, because the film does not allow the hesitation to disappear; thus, the fantastic does not enter the 'uncanny' genre or 'marvelous' genre, and because it keeps its fantastic state. In this case, the labyrinth symbolizes art as a passage into the fantastic world and a space that represents it. Rosemary Jackson saw the fantasy as a "literature of desire to compensate for a lack resulting from cultural constraints" and thus repeatedly dealing with unconscious materials. Del Toro's film shows the character of the fantastic as an expression of desire by allowing 'family romance' to take place in the fantastic world. In this case, the labyrinth symbolizes the mind as a place of desire. Kathryn Hume defined fantasy as a reaction to reality, like mimesis, and 'departure from consensus reality.' The film, operating in a 'vision' genre, satisfies its definition by allowing the fantastic world to illuminate the reality world through 'contrastive' technique, and brings out the fantastic it has. In this case, the labyrinth symbolizes the world as a mirror of the world of reality. Thus, Pan's Labyrinth is representative of fantastic film in that the fantastic functions very effectively, and the labyrinth appearing in this film can be evaluated as a motif that is full of meaning by symbolizing all three elements of art, world and mind. The significance of this paper is to shed light on how a motif works in a particular genre through the above considerations.

• Cross-Cultural Studies
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• v.43
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• pp.405-428
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• 2016

The purpose of this paper is to examine the narrative-building method and the post-historical descriptive aspects of the movie Paradise in Service, which deals with the modern history of Taiwan. Although Paradise in Service tells the history of a certain time period, it focuses on the anguish and agony felt by people who lived during that age rather than on the meaning of historical events or interpretation of the past in terms of official historical discourse. That is, as it avoids looking at the present by composing a narrative in the descriptive historical context and from bearing weight from the viewpoint of realism, it gains the possibility of establishing a new field of discourse through a post-historical discussion using descriptive historical texts. However, the movie tries to create fantasy through a special type of licensed prostitution as a means of post-historical description. In other words, when this movie tries to reproduce the microscopic history of common people in trouble because of a historical tragedy, it considers only men and excludes "weak" women. Thus, although Paradise in Service has meaning in that it gives an example of how movies can disrupt official historical discourse and group memory and rewrite history by focusing on individuals, it is limited by its male-centrism.