• 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 Korean Tunnelling and Underground Space Association
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• v.21 no.1
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• pp.167-175
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• 2019

To effectively deal with the fire in tunnel which is mostly the vehicle fire, it's more important to suppress the fire at early stage. In urban tunnel, however, accessibility to the scene of fire by the fire fighter is very limited due to severe traffic congestion which causes the difficulty with firefighting activity in timely manner and such a problem would be further worsened in underground road (double-deck tunnel) which has been increasingly extended and deepened. In preparation for the disaster in Korea, the range of life safety facilities for installation is defined based on category of the extension and fire protection referring to risk hazard index which is determined depending on tunnel length and conditions, and particularly to directly deal with the tunnel fire, fire extinguisher, indoor hydrant and sprinkler are designated as the mandatory facilities depending on category. But such fire extinguishing installations are found inappropriate functionally and technically and thus the measure to improve the system needs to be taken. Particularly in a double-deck tunnel which accommodates the traffic in both directions within a single tunnel of which section is divided by intermediate slab, the facility or the system which functions more rapidly and effectively is more than important. This study, thus, is intended to supplement the problems with existing tunnel life safety system (fire extinguishing) and develop the remote-controlled automatic fire extinguishing system which is optimized for a double-deck tunnel. Consequently, the system considering low floor height and extended length as well as indoor hydrant for a wide range of use have been developed together with the performance verification and the process for commercialization before applying to the tunnel is underway now.

• Journal of Popular Narrative
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• v.27 no.3
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• pp.95-124
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• 2021

As the symbolic images of girls besides its definition have varied according to the age and society, a posthuman girl character recently appears in the digital cinema. This study aims to analyze its cinematic representations and the social contexts in which they are created. For this purpose, the study focuses on what extent the society allows its imagined figurations as a future female body and the meanings revolving around the image of 'technologically body-enhanced female fighter'. Current digital visualization technology has developed to the extent any imaged future humans can be represented, but posthuman girls' representations have its limitation that only a human-like figuration can be allowed in accord with the traditionally idolized image of girls. It is because of the representation logic in which digital cinema is visualized based on perceptual realism that values audiences' experiences. Despite such less critical figuration which does not dare to cross the boundary between the image of human and inhuman, the posthuman girl characters create a new category of the 'dangerous girls' who are both void of sexual femininity and independent of motherhood and heterosexual romance narrative. Of course, they support the modern human-centered belief that humans can take entire control of technology with their moral behaviors and dispel the fear about the negative impact the nature of technology may have on society at large by showing their child-like figuration protecting ethical values. However, the new character of 'unruly girl' exerts her subversive act that seeks to fight against the human-centered liberal humanistic values and melancholic feeling and vulnerability that the neoliberalism and technocracy enforce. When posthuman girl characters are considered to be a marker through which we can see how different social forces are intervening and competing each other in the upcoming posthuman age, the limited figuration of the posthuman girl characters in South Korean movies illustrates the opinionated thoughts toward the instrumentalism in technology but their bloodshed struggles reveal how the corporate or state-governed techno-biopower has oppressively treated and appropriated the human body as the technology-object and also provide a meaningful opportunity to rethink its unethical violence.