• Journal of Popular Narrative
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• v.27 no.3
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• pp.53-94
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• 2021

This article pays attention to the gender representation of an abominable male abject that reveal class polarization in the movie Parasite. I seeks to read a new aspect of emotional politics in which a precariat man becomes a male patriarch while representing himself with an abhorrent position. Parasite shows a reversal of daughter and son responsible for parents, contrary to the existing family narrative. They teaches the parents' generation how to survive neoliberal that their place is created only when they take away others' place. However, after losing this prospect, Ki-woo confesses to his father that he is sorry first. Ki-taek also attempted to identify Dong-ik with the patriarch, but this male solidarity collapsed by class and committed murder in sudden anger. As a result, Gi-taek goes down to the hateful status of a stinking underground life, and Ki-woo receives a message of ethical reflection from his isolated father. The film gives the father and son the noble status of ethical fighter who fought against the structure of class polarization, especially the ending epilogue and narration emphasizing the ethical responsibility and mutual solidarity between father and son. In this process, the voices of female characters are gradually omitted, blurring gender screening for male characters. Parasite reveals the political reenactment strategy of precariat men in the age of neoliberalism, which is ethical subject by claiming to be a class abject himself. And representing the hate with gender-selecting, it is beautifying the responsible ethics of the patriarch.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.393-425
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• 2019

This paper focuses on Alain Resnais's representative works (1955), (1959), and (1963), and analyzes how he implements a representation of memory though cinematic apparatus. These three films deal with horrific memories that seem impossible to reproduce aesthetically such as the Holocaust, the Hiroshima Atomic Bomb, World War II, and the war in Algeria. The reappearance of events that stripped humans of even their minimum dignity can naturally be associated with ethical issues. These events can never be reproduced because they cannot be explained in the human language. It is also impossible to reproduce in a way that doesn't invade other peoples' sufferings, nor displays the pain of others as spectacles. Alain Resnais was a director who realized that if factual representation was not possible from the beginning, truthfulness would have to be approached through cinematic form. Therefore, he tries to overcome these problems through cinematic forms. First, he shifts to action films to avoid the obscenity of documentary. shows the records of camps captured by German forces in the past, while shows the pain of others in a fictional form of representation. Next, he describes how the trauma affects the identity of the main character through a flashback in , but also shows a main character who is experiencing trauma without a flashback in Flashbacks have the effect of showing the effects of trauma on the main character, but at the same time they involve the obscenity of enjoying the suffering of others. Nonetheless, the absence of flashbacks highlights the impossibility of representation. This is because it is not silent in the impossibility of representation but is constantly approaching. The attitude that repeatedly circles around impossibility is an ethical form that maximizes the impossibility of representation. In conclusion, this is the ethics of representation that Alain Resnais showed in his films.

• Review of Korean Society for Internet Information
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• v.13 no.2
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• pp.13-19
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• 2012

• Proceedings of the Korea Water Resources Association Conference
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• 2020.06a
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• pp.79-79
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• 2020

기존과 현행 수자원 관련 의사결정은 법, 정책 및 규정의 틀에서 이루어진다. 그러나 우리나라에서 재현되고 있는 물의 사회적 현안과 갈등들을 생각할 때 이들 의사결정을 위한 틀이 충분한 역할을 하고 있는가에 의문을 제시하고 다른 길을 모색할 필요가 있다. 본 논문은 물 의사결정과 행동을 주도하기 위한 기존 틀의 보완책 또는 새로운 대안으로 섬진강 유역의 수자원 이용 사례를 통하여 물 윤리의 도입과 제도화를 제안한다. 물 윤리(water ethics)는 물 정책, 관리 및 실무 등 실제행동의 복잡한 환경에서 우리의 가치를 적용하기 위해 채택하는 원칙이다. 대부분 물 윤리적 행동선택은 여러 개의 상충되는 가치를 포함하고 있어 원칙이 필요하며, 존중할 가치와 무시할 가치를 선택해야한다. 또한 이러한 가치 결정을 신속하고 효율적으로 수행하여 물 갈등해소를 지원할 필요가 있다. 물 윤리의 가치 영역은 환경, 사회, 경제, 문화, 거버넌스 등 5개로 분류할 수 있다. 섬진강 유역에는 1960년 이후 경제발전을 위하여 섬진강댐, 주암댐, 보성강댐, 동복댐, 동화댐 등 6개의 댐이 건설되었고, 이들 댐에서 확보한 수량의 60%는 섬진강 유역 외의 생·공용수, 농업용수 및 발전용수로 도수되고 있다. 송정지점을 기준으로 연평균 유출량은 댐건설 전·후에 40%로 감소한 것으로 추정되었다. 물 윤리 차원에서 이들 정책은 1960년 정부가 추구했던 경제 가치에 최우선하는 물 관리라고 할 수 있다. 이러한 물 관리는 하류로 흘러가는 수량의 부족을 초래하여 하구 생태계 훼손을 초래하였다. 특히 하구 기수역에서 상류 유입량 감소로 인한 염수의 유입으로 재첩의 생태환경이 악화되어 전통적인 재첩채취 어업문화를 이루어 왔던 어민들이 고충을 겪고 있다. 물 윤리 차원에서 섬진강의 물 관리는 경제와 함께 환경, 사회, 문화 및 거버넌스 가치의 비중을 높일 필요가 있다. 또한 하구의 환경생태 가치 보전에 필요한 환경유량을 확보하기 위해 공업용수와 농업용수 이용 효율성(재이용, 절약, 경제성), 생활용수의 수요관리, 공급시설의 최적 운영 전략을 물 윤리적 차원에서 평가해야한다. 최종적으로 확보된 환경유량의 효과적 활용을 위하여 그동안 물 관리에서 소외되었던 어민을 포한한 지자체, 수공·농어촌공사·한수원 물 관리기관, 중앙정부 등 이해관계기관의 거버넌스 가치를 높여야한다.

• The Journal of the Korea Contents Association
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• v.14 no.9
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• pp.85-92
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• 2014

This study analyzes what kind of representation strategies make popularity in Silence. As audiences come together in cyber public sphere, 'participatory spectatorship' is made. Its sources are classical narrative mode and collective memories which are the devices to goad audience to anger. Silence reveals self-reflexivity because fact-based film has effect on allowing the audience to be aware of the reality constantly. However, the devices which maximize audience's anger aroused ethical controversy. Silence's unethical expression is the strategy for representing the popularity and the methodology for social ethics.

• The Journal of the Korea Contents Association
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• v.12 no.2
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• pp.116-126
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• 2012

As a film maker, Lee Chang Dong stands out from most Korean film makers who work within the trappings of genre films. To be sure, Lee has also used the trappings of genre films, such as noire and melodrama, but primarily as a tool to communicate with film audience. In his most recent film "Poetry", Lee seems to have even stripped even the minimal trappings of genre film. Lee commands the audience to self-reflect and work towards their own conclusions by denying them the illusory identification on screen. In this way, Lee's works are counter cinema. Lee achieves a distancing effect using such filmic apparatuses as hand-held camera, fantasy, mise en abyme, and returned gaze. Through these filmic apparatuses, Lee exposes the re-presentation of text and compels his audience to see the historical and political contexts of the text. In this study, I make the case that Lee Chang Dong's film making is an act of repetition compulsion that cultivates ethical reflection, through symbolization of the invisible realities.

• Journal of the Daesoon Academy of Sciences
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• v.40
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• pp.303-336
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• 2022

'Otherness' is a major philosophical concept in modern Western thought. It has been a force through which the concept of a subject's rights emerged. This paper focuses on Emmanuel Levinas' discussion of 'otherness.' Levinas emphasizes our ethical responsibility for others, which is meaningful in that it can be applied as a paradigm of communication for use in modern society. In the context of modern times and multicultural societies, it is important to recognize the diversity of others and to promote coexistence. Coexistence at this time should be 'unifying' rather than subject-centered. This paper attempts to understand this narrative. An epic is a cognitive process that constitutes the fundamental desires and experiences of humans. Humans try to project and understand themselves through narratives. The possibility of coexistence with others can be examined by analyzing otherness as found within those narratives. Therefore, this paper suggests the possibility and direction of coexistence by analyzing the storytelling that establishes relationships by shaping characters in Guillermo del Toro's film, Shape of Water.

• The Journal of the Korea Contents Association
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• v.22 no.7
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• pp.548-562
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• 2022

This study was conducted to diagnose the issues of AI ethics in global content and to discuss what kind of discourse is needed to strengthen human identity. To this end, the study selected Netflix original content "The Social Dilemma" for analysis and adopted narrative analysis as the research method. The analysis results confirmed that "Social Dilemma" showed the structure of a traditional current affairs documentary and mainly used experts and statistical data to develop the story. It also reinforced core content claims by enumerating domestic and foreign cases such as the 2021 Myanmar massacre and the spread of fake news. In addition, the relationship between the characters clearly revealed the binary opposition between developers and media companies as well as users and advertisers. For the solution to the problem, strong regulations on businesses and the suspension of social media use were reached. However, "The Social Dilemma" merely pointed out the misuse of AI technology and had a narrative that ignored human identity and social relationships. Such results raise the need for creating contents that emphasize the importance of human sociality, relationships, and learning ability in the age of AI.

• Cross-Cultural Studies
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• v.46
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• pp.21-42
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• 2017

This study aims at analyzing the trend of feeling under the neo-liberalism era through the soap operas. In particular, this article focuses on 'envy'. Unlike jealousy, envy is the feeling of comparison appearing in people in similar circumstances that is displayed within the dual relation with its characteristic of having dynamics on the fortune (victory) of the other party for an unpleasant feeling, denial and interference. However, under the neo-liberalistic order with unlimited competition as its characteristic, 'envy' has the tendency to discourse with its passion of subjects participating in the limited share of competition. This begins in 'envy' under a soap opera to lead to competition to reproduce as the drama to dream of success for self-development. Under the circumstances, the feeling or behavior of characters not showing the general pattern but to individualize with the envious behavior of evil characters to turn away from the structural context for characters of issue of suffering originated within. For example, the soap opera imagines with 'envy' for the feeling of characters to reproduce the neo-liberalistic subject in darkness as well as to transfigure the suffering or context encountered by the characteristics to present the issues.

• Women's Studies Review
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• v.28 no.1
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• pp.79-120
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• 2011

The purpose of this paper is to illuminate the implication of feminist oral history from a postcolonial feminist perspective as critically reexamining the relationship between hearer and speaker, representer and narrator, the said and the unsaid, and secrecy and silence. Based upon oral (life) history of a U.S. military prostitute (yanggongju), I tried to show the experiences of a historically-excluded and marginalized 'Other,' and then critically reevaluate the meaning of encountering 'Other', not just through the research process but also in the post/colonial society in Korea. The narrative of an old woman in the "kijichon" (a formal prostitute in U.S. military base) shows how woman has navigated the boundaries between inevitability/coincidence, the enforced/the voluntary, prostitution/intimacy, and military prostitute/military bride while continually negotiating as well as having conflict with various myths and ideologies of the 'normative woman,' 'nationhood,' and 'normal family.' In addition, her narrative which causes the rupture of our own stereotypical images of a military prostitute not only proves the possibility of reconstructing the self-identity of a subaltern woman, but also redirects the research focus from the research object to the research subject (ourselves). Consequently, the implication in feminist oral history is that feminist researchers who whish to represent the experiences of other should first inquire 'what/how we can hear,' 'why we want to know others,' and 'who we are,' while simultaneously asking if subaltern woman can speak.