Pub Date : 2023-07-31DOI: 10.56659/kcsc.2023.07.3.77
Ji-Eun Lee
This article targets the movie “I Can Speak”, which was produced based on the actual case in which the “Resolution on Japanese Military Sexual Slavery (H. Res. 121)” was passed by the U.S. House of Representatives in 2007. Through the analysis of “I Can Speak”, this paper critically examines the discourse of ‘Comfort Women’ in the United States. Today, ‘Comfort Women’ issue is raised in the United States as a matter of human rights for universal women, but on the other hand, this discourse omits the issue of American intervention and (neo)colonialism in the Pacific War and post-war processing. At this time, 'universal value' means built by the state-knowledge power of the United States, and at the same time reproduces it. “I Can Speak” puts the U.S. outside the issue by erasing the U.S. political landscape surrounding the ‘Comfort Women’ issue and reducing it to just ‘Korea-Japan’ relations. In “I Can Speak,” the U.S. Congress is represented as a place where historical truth wins, and the victim receives an apology from the audience in a parliament surrounded by a statue of an American great man. This paper confirms that the U.S. Congress is also a powerful place to capture Servalton's speech with its ruling discourse by revealing the action of power that the word ‘universal value’ conceals. What is important is that these limitations are not only “I Can Speak,” but also our view of recognizing the ‘Comfort Women’ issue being publicized in the United States today. Therefore, the analysis of “I Can Speak” allows us to critically examine the discourse and movement that is ‘globalizing’ the ‘Comfort Women’ problem through the United States.
{"title":"Can the Japanese Military ‘Comfort Women’ speak in English?: Americanization of the ‘Comfort Women’ issue and The Politics of Representation of “I Can Speak”","authors":"Ji-Eun Lee","doi":"10.56659/kcsc.2023.07.3.77","DOIUrl":"https://doi.org/10.56659/kcsc.2023.07.3.77","url":null,"abstract":"This article targets the movie “I Can Speak”, which was produced based on the actual case in which the “Resolution on Japanese Military Sexual Slavery (H. Res. 121)” was passed by the U.S. House of Representatives in 2007. Through the analysis of “I Can Speak”, this paper critically examines the discourse of ‘Comfort Women’ in the United States. Today, ‘Comfort Women’ issue is raised in the United States as a matter of human rights for universal women, but on the other hand, this discourse omits the issue of American intervention and (neo)colonialism in the Pacific War and post-war processing. At this time, 'universal value' means built by the state-knowledge power of the United States, and at the same time reproduces it. “I Can Speak” puts the U.S. outside the issue by erasing the U.S. political landscape surrounding the ‘Comfort Women’ issue and reducing it to just ‘Korea-Japan’ relations. In “I Can Speak,” the U.S. Congress is represented as a place where historical truth wins, and the victim receives an apology from the audience in a parliament surrounded by a statue of an American great man. This paper confirms that the U.S. Congress is also a powerful place to capture Servalton's speech with its ruling discourse by revealing the action of power that the word ‘universal value’ conceals. What is important is that these limitations are not only “I Can Speak,” but also our view of recognizing the ‘Comfort Women’ issue being publicized in the United States today. Therefore, the analysis of “I Can Speak” allows us to critically examine the discourse and movement that is ‘globalizing’ the ‘Comfort Women’ problem through the United States.","PeriodicalId":127578,"journal":{"name":"K-Culture·Story Contents Reasearch Institute","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127864425","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-31DOI: 10.56659/kcsc.2023.07.3.35
Ji-A Yun
This study analyzes the concepts and characteristics of American sketch comedy and examines the re-conceptualization, characteristics, and empathy of Korean sketch comedy through YouTube channels “Shortbox” and “Nerdult.” The American sketch comedy, which began in the late 1950s, appeared through various media such as TV, movies, comedies, and live performances. The themes were mainly political satire, identity, ideology, and parody. The characteristics of the American sketch comedy can be summarized into 'simplicity', 'restrictiveness', 'completeness', 'diversity', 'recursivity', and 'tendency'. The change in content consumption of modern people, defined as Homo Mobilicus and Homo Telephonicus, is changing along with the mobility culture. Therefore, there was a change in the method of enjoyment and composition of Korean sketch comedy with American sketch comedy as a blind child. Through this, Korean sketch comedy can be reconceptualized as a “comedy in the form of short form content consumed only on SNS.” In addition, the characteristics of Korean sketch comedy include 'autonomy', 'shortening', 'visibility', 'volatile', 'limited', and 'daily'. Simplicity and crackdownability can be seen in common with US sketch comedy, and limiting them to SNS media is the biggest difference. The method of inducing empathy, which is a characteristic of Korean schema comedy, could be divided into two. The channel “Nerdult” focuses more on setting and describing situations than setting characters through daily expressions. The channel “Shortbox” uses a method of expressing the triviality of everyday life through the verbal and non-verbal content of the character and the description of the situation.
{"title":"A study on the property of Shortform Contents of 'Sketch Comedy’: Focused on the YouTube channels, “Short Box” and “Nerdult”","authors":"Ji-A Yun","doi":"10.56659/kcsc.2023.07.3.35","DOIUrl":"https://doi.org/10.56659/kcsc.2023.07.3.35","url":null,"abstract":"This study analyzes the concepts and characteristics of American sketch comedy and examines the re-conceptualization, characteristics, and empathy of Korean sketch comedy through YouTube channels “Shortbox” and “Nerdult.” The American sketch comedy, which began in the late 1950s, appeared through various media such as TV, movies, comedies, and live performances. The themes were mainly political satire, identity, ideology, and parody. The characteristics of the American sketch comedy can be summarized into 'simplicity', 'restrictiveness', 'completeness', 'diversity', 'recursivity', and 'tendency'. The change in content consumption of modern people, defined as Homo Mobilicus and Homo Telephonicus, is changing along with the mobility culture. Therefore, there was a change in the method of enjoyment and composition of Korean sketch comedy with American sketch comedy as a blind child. Through this, Korean sketch comedy can be reconceptualized as a “comedy in the form of short form content consumed only on SNS.” In addition, the characteristics of Korean sketch comedy include 'autonomy', 'shortening', 'visibility', 'volatile', 'limited', and 'daily'. Simplicity and crackdownability can be seen in common with US sketch comedy, and limiting them to SNS media is the biggest difference. The method of inducing empathy, which is a characteristic of Korean schema comedy, could be divided into two. The channel “Nerdult” focuses more on setting and describing situations than setting characters through daily expressions. The channel “Shortbox” uses a method of expressing the triviality of everyday life through the verbal and non-verbal content of the character and the description of the situation.","PeriodicalId":127578,"journal":{"name":"K-Culture·Story Contents Reasearch Institute","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130956893","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-31DOI: 10.56659/kcsc.2023.07.3.111
Byeong-Jun You
The purpose of this study is to explore the contemporary meaning of the historical-cultural contents area. To this end, discussions were conducted to understand historical-cultural contents as a way to deal with various pasts beyond recognizing them in the realm of existing historical studies. Specifically, it pointed out that the existing methodology of history is focused on ensuring objectivity, and paid attention to the problem of “sympathy” that occurs at this time. Since then, the meaning of historical-cultural contents has been examined through content and formal dimensions, that is, 'faction' and 'historytelling'. As a result of the discussion, historical-cultural contents can deal with various pasts as a faction. This makes it possible to deal with the past of the 'gap' that exists between 'real facts' and 'historical facts'. In addition, through historytelling, various communications are made in relationships such as “historian and the public,” “public and the public,” and “past and the public,” rather than “one-sided conversations with historians.” In summary, historical-cultural contents provide various ways to remember the past in addition to the aspects of “utilization” and “activation measures” as an extension of existing historical studies. Therefore, it is necessary to understand historical-cultural contents as a way to deal with the past anew beyond looking at them from the perspective of scientific and historical history. Through this, the past can be (re)processed in more various ways.
{"title":"A Transition from Historical Method to Historical-Cultural Contents Approach","authors":"Byeong-Jun You","doi":"10.56659/kcsc.2023.07.3.111","DOIUrl":"https://doi.org/10.56659/kcsc.2023.07.3.111","url":null,"abstract":"The purpose of this study is to explore the contemporary meaning of the historical-cultural contents area. To this end, discussions were conducted to understand historical-cultural contents as a way to deal with various pasts beyond recognizing them in the realm of existing historical studies. Specifically, it pointed out that the existing methodology of history is focused on ensuring objectivity, and paid attention to the problem of “sympathy” that occurs at this time. Since then, the meaning of historical-cultural contents has been examined through content and formal dimensions, that is, 'faction' and 'historytelling'. As a result of the discussion, historical-cultural contents can deal with various pasts as a faction. This makes it possible to deal with the past of the 'gap' that exists between 'real facts' and 'historical facts'. In addition, through historytelling, various communications are made in relationships such as “historian and the public,” “public and the public,” and “past and the public,” rather than “one-sided conversations with historians.” In summary, historical-cultural contents provide various ways to remember the past in addition to the aspects of “utilization” and “activation measures” as an extension of existing historical studies. Therefore, it is necessary to understand historical-cultural contents as a way to deal with the past anew beyond looking at them from the perspective of scientific and historical history. Through this, the past can be (re)processed in more various ways.","PeriodicalId":127578,"journal":{"name":"K-Culture·Story Contents Reasearch Institute","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126603666","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-31DOI: 10.56659/kcsc.2023.07.3.57
Su-hyang Lee
This paper is a study that started from the fact that in the production and formation of new content, not only the remediation of the original source, but also the relationship of mutual content influence between countries is constantly being considered. We will focus on cases where the novel was remade into a movie, then moved to a country, and then remade into a movie. Annie Baobei's novel 『Qiyue and Ansheng(七月与安生)』 was remade into the Chinese movie directed by Zeng Guoxiang(曾國 祥). In Korea, it is reborn as directed by Min Yong-geun, and the characteristics of media transformation and adaptation revealed in this process are extracted. As novels are adapted into films, changes are accompanied by differences in narrative style and video media. In particular, it shows the characteristics of transformation and adaptation in the form of narrative loosely integrating not only the original short story but also several other short stories. This goes beyond the 'faithful adaptation' of the original work and materializes the generational critical mind of 'Beifiao', which is different from the original work, through the change of viewpoint and the expansion of narrative details. Meanwhile, the secondary creations made in this way are remade again in Korea, and in this third creation, more emphasis is placed on the characterization of the characters, breaking away from the 'faithful adaptation' of the existing films. In addition, while bringing the womance of female characters and generational critical mind, it is reset to fit the reality of Korea in the 2020s. In this process, it shows a critical look at the situation in which the problem of the gap between the rich and the poor and the value of vulgar success are particularly problematic for female characters. Through the adaptation work according to such media transformation, each creation shows a different point of view while sharing one original narrative. As the process of adapting the original work overlaps and expands through stages, the works acquire their own unique aesthetic system and thematic direction. This overturns the hierarchical relationship of original narratives in comparative studies and shows that adaptation can function as a free creative work without being conscious of anxiety about influence.
{"title":"A Study on Text Expansion and Semantic System in ChineseA Study on Text Expansion and Semantic System in Chinese and Korean Film Adaptation Cases: Focusing on Zeng GuoXiang’s film and Min Yong-geun's film","authors":"Su-hyang Lee","doi":"10.56659/kcsc.2023.07.3.57","DOIUrl":"https://doi.org/10.56659/kcsc.2023.07.3.57","url":null,"abstract":"This paper is a study that started from the fact that in the production and formation of new content, not only the remediation of the original source, but also the relationship of mutual content influence between countries is constantly being considered. We will focus on cases where the novel was remade into a movie, then moved to a country, and then remade into a movie. Annie Baobei's novel 『Qiyue and Ansheng(七月与安生)』 was remade into the Chinese movie directed by Zeng Guoxiang(曾國 祥). In Korea, it is reborn as directed by Min Yong-geun, and the characteristics of media transformation and adaptation revealed in this process are extracted. As novels are adapted into films, changes are accompanied by differences in narrative style and video media. In particular, it shows the characteristics of transformation and adaptation in the form of narrative loosely integrating not only the original short story but also several other short stories. This goes beyond the 'faithful adaptation' of the original work and materializes the generational critical mind of 'Beifiao', which is different from the original work, through the change of viewpoint and the expansion of narrative details. Meanwhile, the secondary creations made in this way are remade again in Korea, and in this third creation, more emphasis is placed on the characterization of the characters, breaking away from the 'faithful adaptation' of the existing films. In addition, while bringing the womance of female characters and generational critical mind, it is reset to fit the reality of Korea in the 2020s. In this process, it shows a critical look at the situation in which the problem of the gap between the rich and the poor and the value of vulgar success are particularly problematic for female characters. Through the adaptation work according to such media transformation, each creation shows a different point of view while sharing one original narrative. As the process of adapting the original work overlaps and expands through stages, the works acquire their own unique aesthetic system and thematic direction. This overturns the hierarchical relationship of original narratives in comparative studies and shows that adaptation can function as a free creative work without being conscious of anxiety about influence.","PeriodicalId":127578,"journal":{"name":"K-Culture·Story Contents Reasearch Institute","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129174006","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-31DOI: 10.56659/kcsc.2023.07.3.93
Ho-Jeong Kang
Gunpo City is an area where rapid industrialization and urbanization have progressed since the establishment of Sanbon New City in 1988. In this process, only the area of Daya-dong, near Mount Suri, has remained a rural area and has maintained its traditional village until now. The new urban area was replaced by the indigenous people who had local cultural resources due to the new influx, and in the process, Gunpo City lost its cultural base using local cultural resources. This paper began with a survey project for the conducted in 2018 and focused on the collection and utilization of local cultural resources in Daya-dong, the last rural area of Gunpo City. The existing Gunpo City is an area that has the problem of losing local cultural resources due to sudden urbanization, and it has a great interest in utilizing the local cultural resources of Daya-dong, which was secured by the in 2018. Therefore, follow-up works such as the which utilized the local cultural resources of the , the to foster local citizens survey teams with educational contents, the which educated Udon Gunpo to foster local human resource citizens clubs, and the organized by the Gunpo Branch of the Korea Photographers Association to collect living and cultural resources in the Gunpo area until the 1930s ~ 2000s. However, in the future, there will be a need for the process of building it into an archive through the steps of reinforcement, processing, and utilizing the collected local cultural resources of Gunpo City. Since cultural projects are resuming in Gunpo City after the declaration of the corona pandemic in 2023, the collected local cultural resources of Daya-dong in Gunpo City will be used as contents in the form of and . There is a need to inherit and secure the local identity of the people of Gunpo area.
{"title":"A study on the cultural content of local cultural resources in Daeya-dong: Gunpo-si - Focusing on and follow-up work","authors":"Ho-Jeong Kang","doi":"10.56659/kcsc.2023.07.3.93","DOIUrl":"https://doi.org/10.56659/kcsc.2023.07.3.93","url":null,"abstract":"Gunpo City is an area where rapid industrialization and urbanization have progressed since the establishment of Sanbon New City in 1988. In this process, only the area of Daya-dong, near Mount Suri, has remained a rural area and has maintained its traditional village until now. The new urban area was replaced by the indigenous people who had local cultural resources due to the new influx, and in the process, Gunpo City lost its cultural base using local cultural resources. This paper began with a survey project for the <Community Sound Exhibition> conducted in 2018 and focused on the collection and utilization of local cultural resources in Daya-dong, the last rural area of Gunpo City. The existing Gunpo City is an area that has the problem of losing local cultural resources due to sudden urbanization, and it has a great interest in utilizing the local cultural resources of Daya-dong, which was secured by the <Community Sound Exhibition> in 2018. Therefore, follow-up works such as the <Jeongwoldaeboreum event> which utilized the local cultural resources of the <Community Sound Exhibition>, the <My Neighborhood History Record School> to foster local citizens survey teams with educational contents, the <Salt Road of Daegam Village> which educated Udon Gunpo to foster local human resource citizens clubs, and the <Gunpo Old History Contest> organized by the Gunpo Branch of the Korea Photographers Association to collect living and cultural resources in the Gunpo area until the 1930s ~ 2000s. However, in the future, there will be a need for the process of building it into an archive through the steps of reinforcement, processing, and utilizing the collected local cultural resources of Gunpo City. Since cultural projects are resuming in Gunpo City after the declaration of the corona pandemic in 2023, the collected local cultural resources of Daya-dong in Gunpo City will be used as contents in the form of <Daya-dong Village Museum> and <Daya-dong Visible Village>. There is a need to inherit and secure the local identity of the people of Gunpo area.","PeriodicalId":127578,"journal":{"name":"K-Culture·Story Contents Reasearch Institute","volume":"63 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114814348","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-31DOI: 10.56659/kcsc.2023.07.3.9
Se-Eun Park
As SNS became popular and the single-person media market grew, new contents and forms of content that did not exist in the past were created. ASMR is a case in point. ASMR is a “tingle” that feels thrilling or psychologically pleasant in a specific body part by the stimulation mechanism “trigger,” which is difficult to explain, but it is also understood as a pleasant feeling. ASMR, which was unfamiliar to Korea about 10 years ago, has now become a popular content not only abroad but also in Korea. However, the majority of previous studies that sanction ASMR in Korea are limited to studies that analyze the effects or reactions of audiences, viewing motivation, and use in the advertising industry. This paper aims to categorize the production method by using ASMR videos as basic data. The types of triggers will be subdivided and examined, and a framework will be established to analyze ASMR images based on the presence or absence of narratives in the video, the audience's point of view, and the time of recording. In addition, after analyzing ASMR videos that became popular in Korea using this production type framework, implications were derived. Popular ASMR content in Korea tended to use object sounds and talking sounds as the main triggers, and complex triggers were used without using one trigger. In addition, the number of reality imitation situations or fantasy situations was dominant in proportion over realistic types of content without narratives. It is expected that this study will spark various interests in related follow-up studies as well as various fields that will use ASMR.
{"title":"ASMR contents through trigger: Focusing on the cases of ASMR YouTube in Korea","authors":"Se-Eun Park","doi":"10.56659/kcsc.2023.07.3.9","DOIUrl":"https://doi.org/10.56659/kcsc.2023.07.3.9","url":null,"abstract":"As SNS became popular and the single-person media market grew, new contents and forms of content that did not exist in the past were created. ASMR is a case in point. ASMR is a “tingle” that feels thrilling or psychologically pleasant in a specific body part by the stimulation mechanism “trigger,” which is difficult to explain, but it is also understood as a pleasant feeling. ASMR, which was unfamiliar to Korea about 10 years ago, has now become a popular content not only abroad but also in Korea. However, the majority of previous studies that sanction ASMR in Korea are limited to studies that analyze the effects or reactions of audiences, viewing motivation, and use in the advertising industry. This paper aims to categorize the production method by using ASMR videos as basic data. The types of triggers will be subdivided and examined, and a framework will be established to analyze ASMR images based on the presence or absence of narratives in the video, the audience's point of view, and the time of recording. In addition, after analyzing ASMR videos that became popular in Korea using this production type framework, implications were derived. Popular ASMR content in Korea tended to use object sounds and talking sounds as the main triggers, and complex triggers were used without using one trigger. In addition, the number of reality imitation situations or fantasy situations was dominant in proportion over realistic types of content without narratives. It is expected that this study will spark various interests in related follow-up studies as well as various fields that will use ASMR.","PeriodicalId":127578,"journal":{"name":"K-Culture·Story Contents Reasearch Institute","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130694103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-31DOI: 10.56659/kcsc.2023.1.185
Youngmee Hwang
This paper compares Jin Ling Shi San Chai, a novel written by the Chinese American writer Yan Geling, and its film adaptation, The Flowers of War, directed by Zhang Yimou, to reveal the internal and external characteristics of each work by looking at the differences of point of view between them, which arose from the process of adaptation. Although there are not many studies on Yan Geling in Korea, there are over 100 studies by Chinese scholars on the novel and film adaptation of Jin Ling Shi San Chai, so many that it is difficult to list them all. This paper attempts to identify the characteristics of the novel by using the theory of narrative to show how the novel embodies its theme. It also investigates how the film embodies the theme of the story to reveal the characteristics of director Zhang Yimou. This study focuses on the fact that Jin Ling Shi San Chai is composed of a first-person observer perspective, narrated by the nephew of the protagonist, Meng Su-Juan. By narrating the story from the nephew’s first-person observer perspective, the author achieves intersubjectivity and freely goes back and forth the realms of subjectivity and objectivity. In this paper, it is analyzed that the intersubjectivity is realized through the point of view shots and voice-over narrations in the film.
{"title":"A Comparative Study of the Point of View between Film and Novel in The Flowers of War","authors":"Youngmee Hwang","doi":"10.56659/kcsc.2023.1.185","DOIUrl":"https://doi.org/10.56659/kcsc.2023.1.185","url":null,"abstract":"This paper compares Jin Ling Shi San Chai, a novel written by the Chinese American writer Yan Geling, and its film adaptation, The Flowers of War, directed by Zhang Yimou, to reveal the internal and external characteristics of each work by looking at the differences of point of view between them, which arose from the process of adaptation. Although there are not many studies on Yan Geling in Korea, there are over 100 studies by Chinese scholars on the novel and film adaptation of Jin Ling Shi San Chai, so many that it is difficult to list them all. This paper attempts to identify the characteristics of the novel by using the theory of narrative to show how the novel embodies its theme. It also investigates how the film embodies the theme of the story to reveal the characteristics of director Zhang Yimou. This study focuses on the fact that Jin Ling Shi San Chai is composed of a first-person observer perspective, narrated by the nephew of the protagonist, Meng Su-Juan. By narrating the story from the nephew’s first-person observer perspective, the author achieves intersubjectivity and freely goes back and forth the realms of subjectivity and objectivity. In this paper, it is analyzed that the intersubjectivity is realized through the point of view shots and voice-over narrations in the film.","PeriodicalId":127578,"journal":{"name":"K-Culture·Story Contents Reasearch Institute","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121030486","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
E. Hopper's paintings fascinate us focusing on strong colors, light, common places, and people’s gaze. This article dealing with his paintings is reviewed by W.J.T. Mitchell's picture theory. Mitchell analyses paintings under cultural relations and connected them to media, politic, history discourses. His abundant approaches of image give an important issue of imagetelling. As above, common places and people’s gaze are main elements on Hopper's paintings. Places represented nature and civilization encounters by light. Also people do not look at each other and look like being of self-alienation. To find out how the functions of his paintings are involved in imagetelling, this paper suggests stable images with informations quantity and remediated moving images. Even though modern society is definitely the age of image, image discourses are distributed in various areas. Therefore, imagetelling including the definition, status, functions of image and the method of perception and delivery, an interaction with consumers can be a humanistic discourse combining academic disciplines. This study explores imagetelling mainly regarding the functions and the method of delivery of image on Hopper's paintings.
E. Hopper的绘画以强烈的色彩、光线、常见的场所和人们的目光吸引着我们。本文用米切尔的绘画理论对他的绘画作品进行了评述。米切尔在文化关系下分析绘画，并将它们与媒体、政治、历史话语联系起来。他丰富的意象手法构成了意象表达的一个重要问题。如上所述，共同的场所和人们的凝视是霍珀绘画的主要元素。光代表着自然和文明的相遇。人们也不会互相看对方，看起来像是自我异化。为了探究他的绘画是如何参与意象表达的功能，本文提出了具有信息量的稳定图像和修正的运动图像。尽管现代社会绝对是一个图像的时代，但图像话语却分布在各个领域。因此，形象讲述包括形象的定义、地位、功能以及感知和传递的方法，与消费者的互动可以是一种结合学科的人文话语。本研究主要探讨霍珀绘画中意象的功能和传递方式。
{"title":"Imagetelling on Edward Hopper's Paintings","authors":"So-young Kim","doi":"10.56659/kcsc.2023.1.83","DOIUrl":"https://doi.org/10.56659/kcsc.2023.1.83","url":null,"abstract":"E. Hopper's paintings fascinate us focusing on strong colors, light, common places, and people’s gaze. This article dealing with his paintings is reviewed by W.J.T. Mitchell's picture theory. Mitchell analyses paintings under cultural relations and connected them to media, politic, history discourses. His abundant approaches of image give an important issue of imagetelling. As above, common places and people’s gaze are main elements on Hopper's paintings. Places represented nature and civilization encounters by light. Also people do not look at each other and look like being of self-alienation. To find out how the functions of his paintings are involved in imagetelling, this paper suggests stable images with informations quantity and remediated moving images. Even though modern society is definitely the age of image, image discourses are distributed in various areas. Therefore, imagetelling including the definition, status, functions of image and the method of perception and delivery, an interaction with consumers can be a humanistic discourse combining academic disciplines. This study explores imagetelling mainly regarding the functions and the method of delivery of image on Hopper's paintings.","PeriodicalId":127578,"journal":{"name":"K-Culture·Story Contents Reasearch Institute","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128808507","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The purpose of this study is to examine the dialectical female narrative that appears in the music video of the girl group “Red Velvet” through Hegel's dialectic. In the red velvet song with the velvet concept targeted in this study, “Women's narrative,” in which women become the subject of narrative and express the self-realization of the female subject, is a central element. Macroscopically, these songs form a “These-Antithese-Synthese” relationship, and epicly, they consist of a “divide-integration-divide-integration” aspect. In general, “These” is a hesitation to return to a patriarchal and male-centered society, and “Antithese” is symbolized by a determination to overcome this hesitation and build an independent and independent self. In other words, in the case of “divide”, hesitation was resolved or completed without being overcome, and in the case of “integration”, hesitation was overcome and self-identity was found. Given that the relationship between the four songs ends in an anti-harmony relationship, it can be seen that the female community represented by Red Velvet overcame this hesitation, solidified its identity, and achieved self-realization. This logic of “These-Antithese-Synthese” in Red Velvet's music video can be expanded further from Red Velvet to a metaphor for the situation that girl groups face in Korean society. For girl groups aimed at commercialism, feminism tended to be taboo in itself, but since the mid-2010s, gender issues have emerged as socio-cultural issues, and girl groups have also begun to change. Girl group members show direct or indirect support for feminism, and the agency that plans girl groups has also introduced girl crush and girl group that advocates feminist concepts. However, this move remains at the commercial level, and the girl group's utterance on feminism is becoming more cautious than before. As such, the situation facing girl groups in Korean society is very complicated, so girl groups are constantly repeating their attitude of conformity and rejection to the patriarchal society. When there is constant reflection and concern about feminism socially, girl groups will be able to add sincerity to their music.
{"title":"A Study on the Dialectic Female Narrative in Korean Idol Music Video: Focused on the girl group “Red Velvet”","authors":"Hye-won Lee","doi":"10.56659/kcsc.2023.1.9","DOIUrl":"https://doi.org/10.56659/kcsc.2023.1.9","url":null,"abstract":"The purpose of this study is to examine the dialectical female narrative that appears in the music video of the girl group “Red Velvet” through Hegel's dialectic. In the red velvet song with the velvet concept targeted in this study, “Women's narrative,” in which women become the subject of narrative and express the self-realization of the female subject, is a central element. Macroscopically, these songs form a “These-Antithese-Synthese” relationship, and epicly, they consist of a “divide-integration-divide-integration” aspect. In general, “These” is a hesitation to return to a patriarchal and male-centered society, and “Antithese” is symbolized by a determination to overcome this hesitation and build an independent and independent self. In other words, in the case of “divide”, hesitation was resolved or completed without being overcome, and in the case of “integration”, hesitation was overcome and self-identity was found. Given that the relationship between the four songs ends in an anti-harmony relationship, it can be seen that the female community represented by Red Velvet overcame this hesitation, solidified its identity, and achieved self-realization. This logic of “These-Antithese-Synthese” in Red Velvet's music video can be expanded further from Red Velvet to a metaphor for the situation that girl groups face in Korean society. For girl groups aimed at commercialism, feminism tended to be taboo in itself, but since the mid-2010s, gender issues have emerged as socio-cultural issues, and girl groups have also begun to change. Girl group members show direct or indirect support for feminism, and the agency that plans girl groups has also introduced girl crush and girl group that advocates feminist concepts. However, this move remains at the commercial level, and the girl group's utterance on feminism is becoming more cautious than before. As such, the situation facing girl groups in Korean society is very complicated, so girl groups are constantly repeating their attitude of conformity and rejection to the patriarchal society. When there is constant reflection and concern about feminism socially, girl groups will be able to add sincerity to their music.","PeriodicalId":127578,"journal":{"name":"K-Culture·Story Contents Reasearch Institute","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121219207","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-31DOI: 10.56659/kcsc.2023.1.151
Jeon Lee, Tae-Ryong Kim
The life and death of Yun Sim-deok, a modern girl in the 1920s, and Kim Woo-jin, an intellectual at the time, attracted a lot of attention to the people of the time. This paper extracted one aspect of Joseon's the structure of feelings in the 1920s. Regarding the structure of feelings, Raymond Williams studied it based on the concept of “the structure of feelings” presented in the book “Marxism and Literature”.the interest poured into Yoon Sim-deok, this paper resulted in the emotional structure of anxiety in Joseon at the time, and Kim Woo-jin also found that he had been under pressure from the bondage of pre-modern values and traditions symbolized as “father.” In the process, it was found that both were under the influence of dual the structure of feelings and divisive world perception in common.
{"title":"The Structure Of Feelings In The 1920’s Joseon Dynasty By Examining Yun Sim-Deok And Kim Woo Jin","authors":"Jeon Lee, Tae-Ryong Kim","doi":"10.56659/kcsc.2023.1.151","DOIUrl":"https://doi.org/10.56659/kcsc.2023.1.151","url":null,"abstract":"The life and death of Yun Sim-deok, a modern girl in the 1920s, and Kim Woo-jin, an intellectual at the time, attracted a lot of attention to the people of the time. This paper extracted one aspect of Joseon's the structure of feelings in the 1920s. Regarding the structure of feelings, Raymond Williams studied it based on the concept of “the structure of feelings” presented in the book “Marxism and Literature”.the interest poured into Yoon Sim-deok, this paper resulted in the emotional structure of anxiety in Joseon at the time, and Kim Woo-jin also found that he had been under pressure from the bondage of pre-modern values and traditions symbolized as “father.” In the process, it was found that both were under the influence of dual the structure of feelings and divisive world perception in common.","PeriodicalId":127578,"journal":{"name":"K-Culture·Story Contents Reasearch Institute","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117023020","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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