• The Journal of the Korea Contents Association
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• v.10 no.2
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• pp.155-164
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• 2010

This dissertation is considered a historic generation that Chinese film $6^{th}$ director remembers through their life. Also it is figured out historic anguish and hurt how it was remembered and appeared in film. They have made actual films through their efforts which are different from the conventional generation. In addition, between memory and oblivion the time's signification in the history is showed how what way can be represented. It was presented the time's anguish through memory's metaphor in Chinese film $6^{th}$ works. Also, it was shown the existence's reality from dream was losing as memory was hiding between desire and despair. Additionally, the self of daily was expressed to unconcernedly accept reality, and its against the unchangeable world's eye and memory. The $6^{th}'s$ films' desire was expressed passive appearance to accept reality with losing dream in these three things; cannot be reality in the process to figure out own natural character, and appearance to keep traditional character, finally gradually changing reality. When $6^{th}$ directors analysis the history as memory, social repression follows family's repression, family's repression brings personal repression, and then repression changes to desire, finally the life as a reaction could be maintained. In conclusion, personal desire was covered for fantasy, and the overcoming figure was represented. Moreover, Chinese face that $6^{th}$ directors have memorized was presented through these sentiments.

• Journal of Science and Technology Studies
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• v.8 no.1
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• pp.131-158
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• 2008

With the intention of revealing that biological determinism is not the truth verified as scientific facts but ideology which conceals or reproduces the white male-centered social order of western capitalism, this article considered the peculiarities of human being from a perspective of cultural anthropology and examined the social contexts of biological determinism. From these studies, it found that the human is not born, but rather become, that biological determinism, from phrenology and social evolutionism to social biology and IQ determinism, emerged for the breakthrough of crisis in which a number of disclosed social contradictions drove the established ruling order into a collapse, and that it cannot but function as dominant ideology rationalizing racial, ethnic, class and gender discriminations. Hence, bioscience must overcome biological determinism in order to be the hope of both all people and all sort of life. But it is without the transformation of unequal structures that the problem of biological determinism cannot be surmountable at all.

• (The) Research of the performance art and culture
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• no.42
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• pp.5-22
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• 2021

This work shows the possibility of expansion of existing interpretations through anxiety. They were continuing their previous misbehavior in the name of science. Such a phenomenon is due to the selection of their desires. So they were appearing in violent forms. Audiences who see the scene will be able to choose the opposite realization or action. It can shake the audience mentally. Therefore, this performance represents the anxiety of this period and motivates the audience to take a new action.

• Korean journal of communication and information
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• v.55
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• pp.164-183
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• 2011

Technology innovation of digital convergence in recent years of the media sector has produced a series of significant changes in journalist labor. This study analyzes how recent introduction of convergent newsroom changed the nature of journalist labor and what strategy the management used to control journalists within the technologically innovated working condition with case of CBS. As the labor process theory tells us, the analysis found that technological innovation in the newsroom has encouraged a couple of aspects regarding labor process. First, losing control over their own labor journalists have undergone the process of significant deskilling. Second, the management have made a constant effort to introduce ideological and political apparatuses with twofold purposes, effective control over workers on one hand and concealing oppressive labor conditions on the other. The effort generated journalists' acceptance of new news-making routine and their consent on labor-management culture founded upon naive familism, which at last resulted in reinforcement of corporate power and isolation of labor society by separating internal labor market.

• Journal of Digital Convergence
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• v.14 no.12
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• pp.433-439
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• 2016

For the past hundred years, since many films have only been focusing on expressing suppressed desire and obsession, there have been few films in which unconsciousness desire is expressed and pursuing dream comes true as Freud says. Well known for a convoluted and dreamy structure and plot, David Lynch successfully represents a real dream sequence with his own way of image presentation form in his representative film "Mulholland Drive (2001)". In this study, I attempt to analyze how he expresses the realistic dream sequence with a strange film structure based on Freud's psychoanalysis. In general, dream world is known as completely visual matter, but the feeling of things is more important for making a realistic dream and it is the main reason that we can have more realistic experiences in a dream.

• Korean Journal of Social Welfare Studies
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• v.42 no.2
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• pp.235-274
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• 2011

The purpose of this study is to understand suffering of torture for victims with suspicion of espionage under the military government in Korea by knowing meaning and structure of empirical phenomena. Methods is to applied to Phenomenological and heuristic Human Becoming Methodology, and the subjects of this study are text for three tortured victims. Results is the structure that the victims accepted their act of espionage under the torture and horror, living with retribution from heaven, surviving pressured times, and fighting for human rights upon release from prison. The conceptual integration of relationship issues were: valuing, imaging, languaging with powering and transforming under the process of revealing-concealing and enabling-limiting. Finally, discussion and practical meaning was reviewed.

• The Korean Journal of Archival Studies
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• no.44
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• pp.101-151
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• 2015

This article analyzes biographies of women participants in Miryang struggle against 765㎸ transmission tower and finds that the experience of state violence under the ideological conflicts works the biographical context of participation in environment movement. The cases analyzed in this article disclose the family member's experience of state violence and their trauma through the participation in social movement. And they legitimize their family member's life, heal their trauma, and live a new life by the social movement participation. But the power of healing trauma comes from solidarity and support in social movement. Findings of this article imply that experiences of state violence have influence on the formation and development of various Korean social movements and we need more solidarity and democracy for healing the trauma occurred by state violence and concealed in individual memory. Findings of this article also suggest the importance of biography documents. Biography documents can contribute to widen and to deepen understandings on the social interaction and social history, because they are the document about people's experience who are excluded from the official history and character culture. Moreover biography documents can compensate the official documents, because they can offer the context to the social actions in the official documents. More accumulations and analyses on biographies can serve to widen and to deepen understanding and explanation of Korean society having multilayered exclusion in the process of the compressed modernization and the history of national division.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.265-299
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• 2021

The purpose of this research paper is to facilitate the understanding of the synesthetic aesthetics in the film The Age of Innocence through the intertextuality among the narrative, paintings, and music in the film. In this paper, a two-dimensional intertextual analysis of the paintings in relation to the narrative is conducted on the paintings owned by Old New York, the paintings owned by Ellen, the portraits of unknown artists on the street outside of Parker House, and Rubens' painting at the Louvre. A three-dimensional intertextual analysis of performances in relation to the narrative is conducted on the stages and the box seats at the New York Academy of Music, in which Charles F. Gounod's Faust is performed, and the Wallack's Theatre, in which Dion Boucicault's The Shaughraun is performed. An intertextual analysis of music in relation to the narrative is also conducted on the diegetic and non-diegetic classical music of the film, including Beethoven's Piano Sonata No. 8 and Mendelssohn's String Quintet No. 2, as well as Elmer Bernstein's non-diegetic music of the film. The constituent event of The Age of Innocence represents the passion trapped in the reflection of love and desire that are not lasting, and the supplementary event embodies the narrow viewpoint and the inversion of values caused by the patriarchal authority of Old New York. The characters in the film live a double life, presenting an unaffected surface and concealing the problems behind it. The characters restrain their emotions at both the climax and the ending. The most powerful aspect of the film is the type and nature of oppressive life, which are more delicately described with the help of paintings and music, as there is a limit to describing them only by acting. In intertextual terms, paintings and music in The Age of Innocence continuously emphasize "feeling of emotions that cannot be expressed in language." With a synesthetic image, as if each part were imprinted on the previous part, the continuity "responds to continuous camera movements and montage effects." In The Age of Innocence, erotic dynamism brings dramatic excitement to the highest level, switching between the satisfaction of revealing desire and the disappointment of hiding desire due to its taboo status. This is possible because paintings and music related to the narrative have made aesthetic achievements that overcome the limitations of two-dimensional planes and limited frames. The significance of this study lies in that, since the identification in The Age of Innocence is based on the establishment of a synesthetic aesthetic through audio-visual representation of the film narrative, it helps us to rediscover the possibility of cinematic aesthetics.