• Journal of the Korean Society of Costume
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• v.58 no.1
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• pp.61-78
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• 2008

Comedy costumes worn on the comedians/gag men express the information of the performances such as character's era, place, social rank, present environment, age, sex, occupation, emotion, relationships between the characters, importance and mood in visual language. The comic is found when these informations are reversed, revealed, exaggerated or distorted. To analyse the TV comedy costumes, 5 subordinate concepts of the comic which are Body, Gender, Age, T.P.O.(Time, Place, Occasion) and Role could be identified, and the results from the analysis focused on (10 shows were selected from each of the first and second half of the years from 2003 to 2007) are as follows: Distorted and ugly body implies the resistance against the ideal body. Reversed or confused sex are usually expressed as men dressed in women, and these mean breaking the dichotomy between male and female, and coexistence of the masculinity and feminity, and satirizing the social custom restricting women by moral rules. It could be recognized that the way of men's dressing in women have been changing keeping pace with the times. The discord between age and costume was often expressed with children's wear and childish props. This implies the liberation from the age role. The comic expressed from the inadequate costume for T.P.O. usually appeared with the costumes 20-30years behind the times. When there were discordance with the acts and acts expected from the outfit(appearance) also made an ironical laugh. The comics acquired by vulgarization and exaggeration of the characteristics of role(figures/occupation) were from the imitation and deformation of the objects in stereotypes, and through this dissolving the custom was under way.

• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.75-89
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• 2021

In this paper, the results of analyzing the meaning of laughter in comedy movies of the late 1960s, focusing on comedians, Hee-Gap Kim, Bong-Seo Koo and Young-Chun Seo, are as follows. First, the narrative laughter of the comedians represents the generational conflict between the lower class and the upper class, the gender conflict between men and women, and the frustration of reality. Second the mechanism of creating laughter of the comedians shows ridicule of the conservative older generation, revelation of the immoral upper class, and caricature of the frustrated lower class. Third, the practical aspect of the comedians' laughter reveals cracks in tradition and modern, gaps in economic inequality, and expression of prohibited desires. Therefore, comedians Hee-Gap Kim, Bong-Seo Koo and Young-Chun Seo in comedy movies of the late 1960s show the semantic effect of laughter of internal/external boundaries and optimistic world views through the closed opening of informal culture and the conflict of characters/performers.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.221-254
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• 2020

This paper finds a solution in the social context which cannot be explained thoroughly by well-timed release date, revival of comedy films, and the attraction of Lee Byeong-heon's comedy etc. while it throws question of how the film, Extreme Job captivated 16 million audience. The incredible hits of Extreme Job cannot be explained by analyzing the text alone. After this essay investigates a function and a role of comedy as a public sphere, it examines people's desires and wishes in the comedy and other genres since 2008 when the conservative government has seized power. Since 2008 a series of dark tone's action thriller, social problem film, and disaster film have emerged, these genres showed absence of public security, crisis of democracy and criticism against rulling class. On the other hand, hit comedy films have showed escapism such as weepie, nostalgia, and fantasy at the same time, generally. Although Veteran (2015) is not full-blown comedy, after this film's big success, "comic mode" has gradually revived. A light tone's films which are truer to genre rules has started representing the wishes of people toward social reforms and changes. Meanwhile, "Candlelight Protest" served as a momentum to recover the democracy which has been in crisis, but it could not lead changes in economic and daily lives. Exreme Job can be read as a question how we will survive since "Candlight Protest." The lives of detectives as self-employed workers who has taken over a fried chicken restaurant for going undercover are appearances of ordinary persons who must survive in the edless conpetition. Furthermore, this film shows a dream of a "great success myth" which becomes well-known as a famous restaurant and a self-management such as brand-naming and an exapansion of franchise business. We can read ganster's chicken franchises as a huge distribution industry which disturbs market system by delivering drugs secretly. While applauses that we give to the police having identities of self-employed workers which sweeps the ganster are giving support to oridinary neighborhood like us, they are also wishes of people who long for the restoration of publicness of police in the market which is becoming increasingly privatized today. A significance of this essay is to examine Extreme Job in terms of the geography of film genres and the revival of comic mode sicne 2008 at the macro level, and is to read the film in the perspective of the problems of economic and daily lives which has been still unsolved since "Candlelight Protest" at the micro level.

• Cartoon and Animation Studies
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• s.49
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• pp.143-167
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• 2017

The purpose of this study is to analyze the characteristics that appear when actual comedy movie is made into animation, from the singularities which arise from producing remake of existing media contents into animation. Animation and slapstick comedy movies possess a similarity in that they both evoke laughter from the viewer via exaggerated motion, expression and action. In the case of live action film, people must carry out the acting and there exists spatial limitations, whereas animation does not have such limits, which allows the comic animation to materialize spatial scene directing and acting which are different from that of live action comic films, despite the fact that they share elements of the same genre. Accordingly, this study performs comparative analysis of and which is based on the contents of the same event, from the English comedy TV program and the , the TV animation which is a remake animated version of the original series, to conduct comparative analysis the character acting and the scene directing in accordance with the live action movie and animation. The result of studying the point that makes it easy to create comic genre into animation and the advantages possessed by the media of animation, through analyzing two works that deal with the same character and the same event, were as follows. It was proven through the analysis that comedic directing with doubled composure and amusement is possible through the anticipation of exaggerated directing in the acting through expression and action, and diversity of the episodes with added imagination in the story, as well as the estrangement effect of the slapstick expression and etc.

• Korean journal of communication and information
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• v.71
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• pp.194-223
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• 2015

This study explores a value chain structure of TV program including news, drama, and comedy. The purpose of this research focused on factor analysis and the relationship among viewer's program selection motivations. This research explores correlation between personal value and viewing motivation. This study was to identify the value structure of respondent on TV program(news, drama, comedy) based on means-end chain theory. The research used structured APT laddering questions and 251 data was analysed. Through such analysis, category difference by stage and relationship difference were identified and hierarchical value map was compared. There are four different value ladders: first is attributes, functional consequences, psychological consequences, and final value. The result shows that on news program the basic function is viewers are want to visual factor and quickly acquire social news and they pursue a value of personal social relationship. Whereas, on drama program, the viewers are reflected by around person, and they selected a program based on closed related person. In addition, the viewers are influenced by program's social nomination, production's brand in drama, and performer's nomination, producer and program prominence on comedy. The program selection is highly correlated on program selection's credibility, vital energetic life, and social relationship. The results shows that there was no significant difference between low involvement group and high involvement group for main category involvement group respondents.

• Proceedings of the Korea Society of Costume Conference
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• 2001.08a
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• pp.17-19
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• 2001

• The Research Journal of the Costume Culture
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• v.7 no.4
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• pp.14-37
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• 1999

This study concerns the role of costume in Shakespearean comedy from the viewpoint of the role theory. The term “role” has been used to represent the behavior expected of the occupant of a given position or status. A specific role can not be successfully performed without the aid of the costumes. Costumes are adopted in relation with a specific role. The term ‘role’ had been borrowed from the drama. The similarity between the role on the stage and the role of the social man had been recognized. The typical examples in which the costume help to make access to a specific role and can be effectively exploited for the performance of the role are manifested in the comedies of Shakespeare. Thus, our goal in this study is to analyze the role of costume which appears in Shakespearean comedy from the viewpoint of the role theory. The role of social status and position reflects sex, age, occupation, class, economic position of the characters. In his works, the crown and the mace represented not only the throne but also a previllege and supreme position. The situation role of costume could be widely used for visualizing the psychological situation and external environments of the characters on the stage. The disguise role hided one\`s status, thereby makes possible acting other\`s position. And the disguise role can bring about the change of status, age, sex, occupation, and atmosphere. The costume also could symbolize the social status, position, rank, occupation, and the situation, and functioned as a media for delivering messages to others. The costume performed the role of the physical and psychic protection, and provided its wearer with consolation and peaceful mind. The costume reflected the costume of a society through its wearing condition and wearing configuration. The results obtained from this study can provide useful cues for understanding the role action in the social structure. This kind of understanding reveals the costume phenomena in real life, allows one to perform roles properly and efficiently, and opens our insight on the overall aspects of the costume culture.

• Cartoon and Animation Studies
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• s.19
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• pp.51-64
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• 2010

Although there has been a significant technological and representational achievements in domestic animation industry since the beginning of the 21th century due to the high expectation and boost in production, domestic long and short film animations have been less favored compared to foreign animations because they are less entertaining. For small scale productions including students, it is easier to create short film animations due to small budget and short time frame. In addition, as shown in Pixar animation studios case, production of short film animations can lead to success in production of long film animations from better ideas and technology improvements. This research studies factors that contribute to entertainment and humor of short film animation by examining Pixar's short film animations based on Henri Bergson's comedy factors, which are shape, movement, situation and language, and personality. The most noticeable fact is that the humor by situation is found in all short films. Comedy aspect shown in the form of character's internal characteristic is something that has to be considered from the beginning of character design. Contribution of language is minor compared to movement or gesture, which are more often used to cause humor. Finally, character's personality has to be clear and decided beforehand in order to create comedy situations. After studying various short film animations, I found out that the more successfully humorous an animation is, the more it uses various combinations of the above mentioned comedy factors. By fully analyzing and adopting commercially and artistically successful Pixar's short film animations as the benchmark, planning and production of domestic short film animations can perform entertainment role both domestically and globally.

• Journal of Digital Convergence
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• v.15 no.6
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• pp.399-406
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• 2017

Contrary to the fact that the old films contain artistic and include contemporary literature, religion, and philosophy, latest films are produced with focusing on external interesting composition and sensational scene. A good movie emotionally express the directors' topic message exuding from an interesting story, and empathize with the social agenda which shows a sharp look of the directors' on contemporary social aspect. In the movies of the Coen brothers, it seems like an entertainment movie as typical black comedy genre through irony and happening, but in fact, it inserts a lot of social problems in the film to show that they cynically express their social agenda from a contemplative view. In their movie "The Big Lebowski (1998)", it seems like they are creating comical content through the main characters' unaffected attitude. However, it is director's excellent director of the sub-text that expresses American social issues such as Vietnam war, post-modernism and an obscurantist policy and au fond the comedy about the historical facts of mass production of social maladjustment into black comedy. We expect to contribute to make a step forward in the Korea film industry by analyzing such movies that has the cultural power of influence.

• (The) Research of the performance art and culture
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• no.23
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• pp.159-183
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• 2011

Pansori has both the features of drama and music. In 19th century, prime time of pansori, it had balance of the features between drama and music. But after the late 19th century, pansori has lost the features of drama, and it has been changed into a music centered art performance. This is the phenomenon came from that the upper class accepted and dominated the pansori which had been a performance art of the lower class. The Korean upper class people tend to disdain drama, but to revere music. Nerremsae is dramatic action and ballim is musical gesture in pansori. In 19th century, pansori had plenty of nerremsae, which provided a elaborative symbolic system after the conventional rule of drama. However current pansori actors use only ballim except nerreumsae. Chuimsae like 'ulssigu' is the way to participate in pansori by audience. The actor provides the space for the audience to fill it after inducement by drummer. Through the chuimsae, actor, drummer, and audience share the sympathetic emotional experiences. However the audience in these days do not do chuimsae, but do applause like in western dramas. In western dramas, distinction between tragedy and comedy is relatively clear. The tragedy is constantly tragedy, and the comedy is also constantly comedy. However joy and sorrow are coexisted in Korean pansori. These two contradictory emotions are collided and produce a new strong emotion in a pansori. This is one of very important feature of pansori. Even though each of tragedy and comedy reveals the only one side of life, pansori comprehensively reveals a total human life. However these strong emotions have been much weakened nowadays. Currently pansori has been much declined. For restoration of pansori, it is necessary to revive the drama side in pansori performances.