• Journal of Korea Multimedia Society
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• v.16 no.12
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• pp.1475-1481
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• 2013

A subject always follows desire caused by primal lack which exceeds its desire on survival. At this time, the immediacy provided by vision and the excellence of information become important means in mediating the object of the desire. The subject who is attracted to the vision and image toward desire cannot get out of the trap of the image. When the film raised unconsciousness to pleasure while reproducing the desire of 'mirror image', the digital image presents a virtual experience on the desire of subject by dominating audience with its perfect image regardless of the existence of the object. This study attempted to prove that unconsciousness of subject has close relation with digital image, which takes other's desire as its own by wrongly identifying other's desire as its own desire and captivates subject by the experience of desiring. According to the result of study, digital image escalates the imaginary desire of subject through the virtuality of image close to reality and captivates subject by giving pleasure to the unconsciousness of subject as a path in going along with the desire of other.

• The Journal of the Korea Contents Association
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• v.12 no.9
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• pp.126-135
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• 2012

This study is the subsequent full-scale research of a TV drama writer who has been out of scholarly pursuits as it explores Su-Hyeon Kim's underlying consciousness with focusing on her heroines, the and . The author Su-Hyeon Kim clearly distinguishes a TV melodrama from a TV home-drama by her own self-control, which is a rare case in TV drama genres, therefore, her consciousness lights up at her melodrama. This study applies Lacanian theory to the author's melodramas for examining the author's under-lying thought. For Lacan the subject is an 'alienated', 'privative', 'fractured' 'being' as an imperfect language, the symbolic order, forms the subject through its signification. The subject desires the other's desire, and wants to become an object for the other's desire. The desire constantly demands an integral world, a perfect love, the wholly harmonious imaginary order. And it lasts up as it refuses the symbolic order's imperfection while it works its unconscious fantasy. Lacan states that only the 'traversing the fantasy', 'separation' would give birth to the real, liberated subject. Despite a 20-years of rift within two works, the and have an identical conflict core, that is a subject's constitutive, fundamental privation and desire of a human being. Su-Hyeon Kim's underlying consciousness complies with her continued theses of an inquiry into the subject's real liberation and freedom when desire of the rings produces the subject's alienation, privation, and the pursuit of a impossible perfect love.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.121-129
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• 2019

This study aims to focus on the text analysis, production methods of text, and reproduction of production methods, based on a film (2010) taken by mobile devices. As a digital film in which the objects and images have no characteristics of index, this work has the post-cinematic attributes in the aspect of consumers' recipience. This thesis paid attention to the interactions between essential change and production/consumption throughout the whole film culture in the receptive aspect. Just as the main character is a mediator-shaman in the film, this film works as a mediating position of cinematic possibility. In this film, there are different kinds of mediation such as mediation of shaman inside the text, mediation of film in the relationship between text and consumers, and consumers' instrumental desire for others'tool outside the text. Outside the text, this relevant film stimulates the imitation desire of consumer subjects as others. In other words, this is connected to the desire of consumers who aim to create a digital film through mobile devices as an author. This is connected to Simondon's thinking in which such technical objects not only generate new relationships, but also become a revolutionary seed that newly collectivizes human society.

• Cross-Cultural Studies
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• v.53
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• pp.73-102
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• 2018

The purpose of this study was to explain, using Jacques Lacan's theory of desire, how Ellen Olenska functions as the object petit a in her relationship with Newland Archer and to connect the impossibility of Newland and Ellen's love with the impossibility of desire, in Edith Wharton's The Age of Innocence. In New York society in the 1870s, the unpleasant truth was avoided, personal opinions were excluded, no room for imagination existed, and other-ness was expelled. In that society, Newland realized that true love and true emotions were lacking in his life. For Newland, Ellen was the gap in New York society and the object that could fill that gap. Ellen functioned as the object petit a. But the romance between Newland and Ellen was forbidden in New York society, where everything was dominated by strict social codes, and especially because Newland was engaged to Ellen's cousin, May Welland. Ellen became inaccessible to Newland and this set Newland's desire for Ellen in motion. He idealized Ellen as the objet petit a, based on the fantasy that she would fill the void in his life. However, at every critical moment, Newland delayed unification with Ellen by resorting to social codes. His actions betrayed that the goal of his desire was not the fulfillment, but the reproduction of desire, with its circular movement. His decision not to see Ellen in Paris again at the end of the novel can be interpreted as Newland's effort to maintain Ellen as the inaccessible object, objet petit a, forever. It is this impossibility of desire that the romance of Newland and Ellen is predicated upon. Another purpose of this study was to expand this impossibility of desire to the relationship between man and woman and to interpret The Age of Innocence as a story showing the characteristics of the relationship between the sexes. The relationship between Newland and Ellen shows that there is no harmonious relationship between the sexes and that woman exists only as a fantasy object, objet petit a for man.

• 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.

• Cartoon and Animation Studies
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• s.44
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• pp.117-141
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• 2016

The various representations are receiving attention in modern society that has so many contents. Among them, the fantasy shows that you can not see in reality. But the intention of these fantasies is not giving a visual fun. The fantasy show the reality through stories that are not in reality. The fantasy that allows readers to continue to make the suspect between the real and the imagination and that suspect arises from the desire of real life. If the desire break the community, the social ideology will collapses. Conversely, if the desire is overturned by community, the social will be maintained. The goal of the fantasy which has the relationships of society is revealed through the various expressions of existence. They are divided into the subject and the other show the inner side of the main character. The subject shows the inner side of the main character by the transformation, alter ego and the other exists. The other shows the desire of the subject by the transformation, alter ego and the strangers. Disney animation studios select the target audience and the message in relation with the society. They choose the original like the fairy tale, myth and change them to satisfy the middle class. The characters of Disney animation says that messages by the expression of fantasy. The subject go through the transformation by twice. The first transformation is antisocial and the second transformation is social. The second shows a complete transformation. The other characters personified show the many kinds of the main character. The other as the alter ego of the main character represents the desire of the subject. They are described as an object of fear and exclusion. They expresses as a dark and menacing looks and hinders the complete transformation of the subject. But they were overthrown by the subject at the end of the story and it strengthen the social ideology. As a result, Disney highlights the value and the moral message of the society by using the representation of fantasy.

• Cartoon and Animation Studies
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• s.26
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• pp.79-108
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• 2012

This thesis is on the purpose of seeking for the possibility of a mechanism in interpreting, analyzing and criticizing cartoons which are applied to the concept of "the gaze" based on "the otherness of vision", which states a pluralistic visual world. It proves that cartoons are in line with other art works that are the subject to "lack and desire"; the gaze, greets reality and acts as an important criterion of analyzing and criticizing the trend in contemporary art, in which the cartoon expresses the gaze in harmony within its work of art. In this thesis, the artist, Kang Doh-ha structuralized ambiguous and difficult forms of art as he has cumulated experimental minds by working in an indie cartoon plane for a long period of time. Among his works of art, he identified the "invisible world" through his piece "Kubrik". Therefore, he represented: a metaphor and a metonymy, an ambiguously situational expression, an intentional and emotional error, the structure of individuality and integration, and finally tension beyond its meaning through use of 'the gaze' that is both the cause and the subject of a desire in the visible world which Lacan academized when he interpreted and analyzed "Kubrik". The concept of the gaze can be used in a variety of ways to display one another's presence in relation each character, revealing a spot of lack by staring back at readers or audiences and furthermore, to analyze and criticize the hidden side of the art piece by critics. The most important details are the artist's gaze, which is seen in the eyes of the analysis and also his or her criticism of the cartoon, which functions as a metaphoric screen in which the subject himself or herself betrays the law of desires thus enabling the violent and cruel reality to be masked and indulged in plays. This will serve as an element that will lead into an art as well as control the degradation to just a piece of enjoyment with the cartoon remaining only within the visual world.

• Journal of Korean Philosophical Society
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• v.129
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• pp.53-82
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• 2014

This paper analyzes the concept of Lacanian subject and the structural definition of sexual difference between man and woman, and criticizes some problems of those definitions. It seems to me, to do so, that it is important to know precisely the core terms of psychoanalysis quoted by Lacan. We should analyze the basic meanings and the relation of the Imaginary, Symbolic and the Real, of ideal ego and ego ideal, of phallus and signifier, of desire and the other, of consciousness and unconsciousness, of alienation and separation, etc. I'm going to discuss the relation between the Imaginary and the ideal ego in chapter 2, and then, deal with the relation between the Symbolic and the ego ideal in chapter 3. I'll explain both similarity and difference between the ideal ego and ego ideal through those discussions. In chapter 4, I'm planning to explain the relation among the other, desire and the subject of unconsciousness. In chapter 5, I'll analyze the meaning of phallus and signifier. I'll criticize the Lacanian structural definition of sexual difference on the basis of the work made in former chapters. These discussions will lead to my final conclusion that the concept of Lacanian subject and the structural definition of sexual difference are only dependent on reductionism regarding everything as symbolic, which has in itself a lot of contradiction. In order that All discussions about sexual difference have at least a objective meaning, they have to rely on anatomical differences between man and woman.

• Journal of Korean Philosophical Society
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• v.116
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• pp.437-464
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• 2010

The article, focusing on the theory of Zhong-He, sheds a new light on the philosophy of Daizhen. The theory of Zhong-He, according to the philosophical system of Zhuxi, serves as the theoretical foundation in erecting the apriori moral nature and guiding mental cultivation of subjects. Daizhen, on the contrary, criticizes the doctrine of Zhonghe in Zhuxi's philosophy as it produces negative side-effects of moral dogmatism. Zhuxi's doctrine, according to Daizhen, as it reduce the origin of morality to apriori condition of consciousness and delimit the range of cultivation to psychological realm of subjects, restricts moral subjects in the fortress of their own subjectivity. In this vein of his criticism, Daizhen attempts new interpretation on Zhonghe. The character Zhong (中), according to him, does not refer to apriori moral state or metaphysical moral substance as it does in the doctrine of Zhuxi. On the contrary, it denotes the state in which diverse existent beings are placed in their own position by their own dispositions. Similarly, the other character He (和) does not refer to the condition where an individual's consciousness is in equilibrium, but to the process of achieving the harmony of entire society in which diverse existent beings are communicating to each other. With his novel interpretation of the theory of Zhong-He, Daizhen could dissolve the tradition of Weifa (未發) and moral subjectivism in Zhuxi's philosophy and provide a way of establishing reciprocal communication and harmony between various individuals. It is in his ethics of rational mutual understanding where the significance of Daizhen's philosophy should be found.

• Cartoon and Animation Studies
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• s.50
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• pp.153-185
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• 2018

This study analyzed the comic "Monster" based on J. Lacan's psychoanalytic theory. J. Lacan advocated a new psychoanalytic theory through S. Freud's psychoanalytic theories and socio-cultural studies. The main theory of his theoretical background is the 'desire theory' which analyzed human desires. He distinguished human desires as desires and demands and had the basic proposition that 'human desire is the desire of the other'. J. Lacan (J. Lacan) studied in depth the relationship between oneself and others, which he defined by dividing it into an imaginary system (mirror stage), a symbolic system (Oedipus complex), and a real system (desiring subject). Based on these theories, the main purpose of this study is to analyze the comic "Monster" by Naoki Urasawa focused on the desire theory of J. Lacan based on psychoanalysis to examine what new meaning could be extracted. In order to analyze the comic "Monster", the qualitative research method was used and the method of analysis was the descriptive phenomenological method devised by Giorgi (1985). Through this analytical method, the background, characters, and symbols of "Monster" were analyzed and content analysis was performed based on the theory of Giorgi (1985) and the desire theory of J. Lacan As a result of the analysis of the meaning unit and components related to the desire theory through content analysis, the contents analysis was divided into four components: identification, reproduction of desire, alienation, and unique desire and freedom. The results of this study are summarized as follows. First, on the basis of psychoanalysis, "Monster" is classified into four elements, identification of twin characters, reproduction of desire, feeling of alienation and unique desire and freedom of characters based on desire theory of J. Lacan. Second, the characters analyzed by the desire theory of J. Lacan attempted to reproduce their desires through identification and projection of twins due to their traumatic experience when they were young. Also, the characters who felt alienated in the process of reproduction made a tragic ending to complete human desire and freedom to fill in their emptiness. This result shows that desire theory of J. Lacan based on psychoanalysis can be used as a new analytical theory, a comic analysis which suggested a new meaning. The results of this study suggest that a new field of research, a comic analysis using psychological theory, needs to be created and further studies in this field are required.