• Cross-Cultural Studies
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• v.41
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• pp.85-112
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• 2015

This article studies The Complete Story of JinTai(金臺全傳), a Korean and Chinese xylographic book, and wishes to makes a case for the value of this work. The Complete Story of JinTai, is an anonymous Xia-Yi (俠義) novel from the late Qing Dynasty. The oldest edition is at Nanjing Rare Book Library. This work was published in 1881 when Emperor Guangxu (光緖) ruled China. Currently, a copy of this book is at the Kookmin University Rare Book Library, however, it is somewhat different in form from that in the Nanjing Library. But it is almost the same story. The Complete Story of JinTai narratives the life story of the hero, Jintai (金臺). Jintai's appearance, alliance, ordeal, contribution, and return proceed sequentially, thus, the story gradually explicates Jintai's heroic aspects. Jintai is a young hero. Exceptionally, he married an official dancing girl. He values honor, hangs out with friends, slays a wicked villain, to the defense of the country, and eventually becomes a king. The hero of more than 500 is categorized as conductor, strategist, activist, intuitive type. They are from Geumsan Mountain, took a pledge of brotherhood, and try to resolve a national crisis. The remarkable Jintai fights wicked enemies and does battle with the villains in many conflicts.

• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.175-183
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• 2022

This study comparatively analyzed the cultural codes of Korea and Turkey represented in the Turkish film remaking the Korean original film. Although both films follow the narrative of resisting the tyranny of public power based on fatherly love, similarities and differences were revealed depending on the socio-cultural contexts of Korea and Turkey. First of all, Korea and Turkey valued familialism under the influence of Confucianism and Islam respectively. This was represented as a fatherly love, willing to sacrifice himself for the sake of his daughter. Meanwhile, in the Turkish version, there was a difference in the interpretation of the Islamic identity that encompasses the lives of Turkish people and the consequent human sinfulness and death. In the film, the prisoners repented of their personal sinfulness under Islamic doctrine, and sought salvation by activating the muslim brotherhood. This contrasts with the original work, which uses religion as a humor element that highlights the genre characteristics of comedy films, along with the social atmosphere in Korea that allows for the coexistence of various religions. In addition, Turkish one draws on the realistic issues of the military dictatorship of Turkey in the 1980s and the abolition of the death penalty for EU membership, bringing out a film narrative as a drama genre.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.1
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• pp.59-70
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• 2013

This study was to suggest cultural landscape preservation, value creation, as well as utilization plan to help landscape development of Hahoe village by identify the existence of Okyeonsipyeong(玉淵十詠) natural features, which were set around Buyongdae(芙蓉臺) in Hahoe Village by Seoae(西崖) Ryu, Seongryong(柳成龍), and understanding their characteristics and meanings of natural features and meanings. Based on the writings of "Okyeonseodanggi" and "Okyeonsipyeong", the major results of this study are as belows. 'Okyeon(玉淵)' letters carved on the rocks, also known as the name of pavilion in Okyeonjeongsa(玉淵精舍), is the center of Okyeonsipyeong that symbolizes the enlightenment of clean noble man, as well as the symbolic locational expression of studying room. One of Okyeonsipyeong, 'Wansimjae', is assumed to be the name from the combination of two Buddhist names, 'Wanjeok(玩寂)' and 'Seshim(洗心)', 'Dangho(堂號)', lined on both sides with Wonlakjae, the residence of Seoae, as the center. Wansimjae is after all the natural feature indicating the overall Okyeonjeongsa as the core of Okyeonsipyeong with west edge Gyeomamjeongsa(謙巖精舍). Among ten Okyeonsipyeong natural features, Wansimjae(玩心齋), Ganjukmun(看竹門), Gyeomamsa(謙菴舍), Dalgwandae(達觀臺), Ssangsongae(雙松厓), and Dohwacheon (桃花遷) are on the right side of the stairway from Okyeonjeongsa to Gyeomamjeongsa, while Chuwoldam(秋月潭), Neungpadae(凌波臺), Gyeseonam(繫船巖), and Jijuam(砥柱巖) are on the road to the cliff under river cliff in Buyongdae as well as to the dock, and all are located within 500m radius close and diameter area. As the results of lexeme and context analyses of Okyeonsipyeong poet, they are mainly about Confucian teachings symbolizing the constancy of the classical scholar including ego becoming one with the nature and back to the nature, unworldliness and farsighted view, transcendence and seclusion, as well as integrity spirit. In Dohwacheon and Gyeomamsa poets, there is Tao characteristics and brotherhood that pursue fairylands such as Mooreungdowon(武陵桃源). To create tourism brand and landscape of Okyeonsipyeong, it is necessary to prepare storytelling plans including the letters carved on the rocks introduction in Buyongdae area, and also synopsis of the Silgyeongsusang musical, 'Buyongjiae(芙蓉之愛)' that is related to 10 natural features. In addition, the related plans of the experience road from Gyeseonam, which is the boat stop in Buyongdae, to Ganjukmun of Okyeonjeongsa, and again to viewing routes on the stairways to Gyeomamjeongsa using boats are necessary. For preliminary preservation and maintenance plans, the safety of the stairway from Okyeonjeongsa to Gyeomamjeongsa should be secured, the rock inscription should be preserved, landscape interpretation plates should be installed, trees and shrubs around Dohwacheon rock inscription should be removed, Dalgwandae letters carved on the rocks should be restored, and the bamboo forest outside Ganjukmun as well as Prunus persica plantation around Dohwacheon should be pointed out.

• Cartoon and Animation Studies
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• s.47
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• pp.241-271
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• 2017

Film color is equivalent to other elements of film, including narrative, and has a textual meaning according to the identity of expression. In general, red has a function of focusing attention, and the meaning derived from it is diffused. In the interaction of text and context, the function of concentration and the meaning of diffusion can be presented. The concept of concentration and diffusion is shaped by the relationship between independent colors, colors and other cinematic elements, and interactions between colors. In order to confirm this, this study analyzes a series of popular Korean films, how film colors interact, and in particular, the concentration function of red and the meaning of proliferation. The results of this study are as follows. First, in Korean popular films, at its most basic, red symbolizes a nation, a people, and a nation. The red of nationalism surrounding ethnicity, nationality and country visualizes ideology and conflict. The purpose of an individual or group, the relationship between the offender and the victim is mediated through red. The flag, the name tag, the costume appearing in the film are red. This can be seen in films such as Train to Busan, Assassination, Masquerade, Miracle in Cell No.7, Brotherhood of War, Northern Limit Line, Joint Security Area, Welcome to Dongmakgol, and May 18. Second, the red color attached to the female body fixes or strengthens socio-cultural sexuality and gender. The examples are films like Ode to My Father, The Thieves, The Host, Purpose Of Love, Sunny, Like A Virgin, Forbidden Quest, Untold Scandal, Bewitching Attraction, and Ssanghwajeom. Third, the blood red in Korean films is a visual device that directs magical horror, anger, and asceticism. Such films include The Neighbors, Bunshinsaba, R-Point, A Tale Of Two Sisters, Whispering Corridors, The Uninvited, Thirst, SECTOR 7, Asura:The City of Madness, The Tiger, Veteran, and so on. Fourth, red of tears constitutes the specific emotions such as a beautiful desire and a brilliant tragedy in films like King and The Clown, Oldboy, Memories of Murder, 26 Years, The Attorney, Unbowed, Sympathy For Lady Vengeance, Happy End, Punch, Calling, The Yellow Sea, and He's on Duty.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.187-198
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• 2020

With the cultural background of whiteness I did examine the universal meaning of absolute good, the special of psychosis, and the fantastic of femininity and memory/record. As an example I analyzed the symbolic meaning of white used in Korean films. Unconditional goodness, white as a generality: White color in all the films of good-evil confrontation falls into this category. The most obvious and the simplest configuration are the black-white dichotomy. In Nameless Gangster: Rules of Time(2011), The Merciless(2016), Asura: The City of Madness(2016) and The Bad Guys: Reign of Chaos(2019), white is the absolute good but it is not limited to a fair key figure. Paradoxically, black is not given only to the side of absolute evil. White is used to be a flexible visual device that reflects the socio-political situation without changing the meaning of the general good. Psychosis and pills, white as a peculiarity: The visual function that emphasizes sado-masochism in the absolute good and the universal symbol of white extends to psychotic specificities such as hysteria. In all the films creating horror, white symbolizes the mentally disabled and the pill for healing. Femininity and haunted white: White of absolute good is expressed by the socio-cultural tendency of femininity and the black-white contrast of vision is applied to the gender difference. In general the women's sexuality is emphasized in color red, but white is arranged in the background. In TaeGukGi: Brotherhood Of War(2004), 71: Into The Fire(2010), My Way(2011), The Front Line(2011), Roaring Currents(2014), Northern Limit Line(2015), The Battle: Roar to Victory(2019) and Battle of Jangsari(2019), white given to female figures sticks to the traditional femininity such as motherhood, sacrifice and weakness. The concept of specters is applied to desires, memories/records, history, fantasy, virtual/reality and social media images. The film history capturing to list memories and moments brings up the specters of socio-political genealogy. Most of films aiming for socio-political change are its examples and white constituting Mise-en-scene records to remember a historical event in Peppermint Candy(2000), The Attorney(2013) and A Taxi Driver(2017).