• International journal of advanced smart convergence
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• v.9 no.1
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• pp.29-36
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• 2020

We aim to reinterpret Bong Joon-ho's Snowpiercer through theory of posthumanism. Posthuman is a compound word of 'post' and 'human', which means transcendent-man. However, we would like to extend the meaning of posthuman or cyborgs as not only to "new human figure, or transcendent-man" but as to "human living in a digital age of converged technology". Through the extension of the meaning of posthuman, we would be able to not only find posthuman in Science Fiction movies but also apply it to our real world. Also, through the extended meaning, we will reinterpret all the elements from the film as cyberspace and as posthuman or cyborgs. Moreover, through examination of these "cyborg figures" in Bong Joon-ho's Snowpiercer (2013), we argue that the film is criticizing posthumanism in the reality that these days, people are losing the humanity due to the combination with the machine. It seems that he claims of the collapse of the current system, suggesting new human generation as the solution.

• The Journal of the Korea Contents Association
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• v.16 no.10
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• pp.701-710
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• 2016

Perspective of director Bong Joon-ho shown in his movies up to now had been limited to domestic issues but that in the was shifted to the world, mankind, and future of humans. Images exhibited in his movies had the same meanings of many stories in the Bible and myths. The study looks into his philosophical world through the Christian view of the world and the Oriental circulation thinking; the story of the was expressed in before the glacial period, the 17 year glacial period spent in a train, and after the glacial period; structure of the story was composed of allegory as prior to Israelites' Escape from Egypt, desert life for 40 years, and entrance to Canaan. The end in the Bible does not mean complete collapse but it contains aspiration for new heaven and new earth to open a new era, to make a new promise with the God and to live a permanent life. This study intends to interpret the developed in a quite different meaning of imagination of humans' future from the previous one by the director Bong Joon-ho and to make another different explanation underlying in the image projected on the surface layer by the director.

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.92-107
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• 2013

This study investigated whether individuals' exposure to movie-promotion activities offered by a movie-maker influence their satisfaction of viewing it. This study also explored whether individuals' motive for viewing a movie and personal involvement with it have an effect on their satisfaction of viewing it. The data from nationwide survey with a stratified sampling were analyzed (N = 451). This study found that (1) The more frequent exposure to movie-promotion activities, the greater satisfaction of viewing a movie; (2) The stronger motive to view a movie, the greater satisfaction of viewing it; (3) The higher involvement with a movie, the greater satisfaction of viewing it; (4) In the strong motivated group and the high involved group, the influence of individuals' exposure to the movie promotion activities is effective for individuals' satisfaction of viewing it. And theoretical and practical implications were discussed.

• The Journal of the Korea Contents Association
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• v.22 no.2
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• pp.665-681
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• 2022

This article compared and analyzed the SF films Snowpiercer and Space Sweepers, which embody the imagination of disaster for the future dystopian society. In common, the two films represent the future society as a society with a serious climate crisis and an extremely widening gap between the rich and the poor. Both films use similar narrative strategies: representing a isolated, twisted-willed scientist figure, building a main stage as catastrophic hierarchical capitalist society, and focusing on the conflicts between a dominant group possessing the science-capital-power and a resistant but ordinary subjects. However, there is the different framing on the future society in terms of representing nature, science technology, and human-nonhuman agency. This distinction is shaped by the narrative function of the objects represented by two films.

• The Journal of the Korea Contents Association
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• v.13 no.10
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• pp.234-255
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• 2013

Korean Academy of Film Arts (KAFA) is the film school run by Korean Film Council (KOFIC). KAFA was established in 1984, benchmarking American Film Institute (AFA) and in order to foster manpower for Korean Movie under the US's pressure of domestic movie market opening in Korea. The Korean Movie market was open to the world by 1987 and suffered from the low Korean-produced movie market share of around 20% in the domestic market from 1987 to 1998. During the last 30 years, KAFA plays the key role in the Korean movie making industry. Of 520 of number of their alumni, the number of directors is 101, 33 of cinematographers, 18 of producers and 21 of professors in universities' film departments. Korean Directors, Bong Joon-ho of (2013) and topped over 10 million domestic admissions to become the most-watched Korean films of all time. Now, with KAFA's relocation to Busan following with KOFIC, their new roles are promotion of the film industry in Busan, recruiting and educating new talented Korean and foreign student filmmakers, becoming an international film school.