Pub Date : 2023-11-30DOI: 10.32611/jgcc.2023.11.57.79
Chang-min Park
Starting in 1950, Korean Opera, which has a history of 73 years to date in 2023, served as an motive to pave the way for the creation of Korean opera through the “MOM Creation Contest” organized by Korea National Opera in 2009. Since then, it has been changed to the Creative Factory of Performing Arts organized by the Arts Council Korea since 2014, and new operas have been discovered every year through continuous support until 2023, and 17 new operas have been finally selected. This study examined the diversified aspects of material utilization for new operas discovered through the Creative Factory of Performing Arts, focusing on the material of the libretto, which is the first work and basic element of the creation of an opera. In order to study the material diversification of new opera selected through the Creative Factory of Performing Arts, six classification criteria were set, each of which is a genre, method of libretto, original foundation, the spatial background of work, the temporal background of work, and basic material. In addition, in order to help understand, this study also examined aspects of the diversification of materials of new operas in overseas opera theaters such as the United States, Germany, the United Kingdom, Austria, Italy, and France. As a part of the development of cultural contents, I hope that this study will help understand the trend of diversification through the recently discovered Korean new operas, help revitalize creation, and further promote convergent development in all fields of performing arts.
{"title":"A Study of the Diversification of Materials of Korean New Operas: Focusing on selected works by the Creative Factory of Performing Arts","authors":"Chang-min Park","doi":"10.32611/jgcc.2023.11.57.79","DOIUrl":"https://doi.org/10.32611/jgcc.2023.11.57.79","url":null,"abstract":"Starting in 1950, Korean Opera, which has a history of 73 years to date in 2023, served as an motive to pave the way for the creation of Korean opera through the “MOM Creation Contest” organized by Korea National Opera in 2009. Since then, it has been changed to the Creative Factory of Performing Arts organized by the Arts Council Korea since 2014, and new operas have been discovered every year through continuous support until 2023, and 17 new operas have been finally selected. This study examined the diversified aspects of material utilization for new operas discovered through the Creative Factory of Performing Arts, focusing on the material of the libretto, which is the first work and basic element of the creation of an opera. In order to study the material diversification of new opera selected through the Creative Factory of Performing Arts, six classification criteria were set, each of which is a genre, method of libretto, original foundation, the spatial background of work, the temporal background of work, and basic material. In addition, in order to help understand, this study also examined aspects of the diversification of materials of new operas in overseas opera theaters such as the United States, Germany, the United Kingdom, Austria, Italy, and France. As a part of the development of cultural contents, I hope that this study will help understand the trend of diversification through the recently discovered Korean new operas, help revitalize creation, and further promote convergent development in all fields of performing arts.","PeriodicalId":161830,"journal":{"name":"Academic Association of Global Cultural Contents","volume":"16 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139201413","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 : 2023-11-30DOI: 10.32611/jgcc.2023.11.57.117
Bo-Yun Seo, Eun-Kyung Chung
In a rapidly changing global environment, corporate advertising is one of the means by which global companies in domestic communicate with various public. The purpose of this study is to analyze the characteristics of corporate advertising by type and how ESG activities appear in corporate advertising to suggest the message strategies for neo-corporate advertising. For the purpose, this study analyzed TV advertisements and digital video advertisements of companies executed for three years from 2020 to 2022 in Korea. Also this study analyzed the characteristics of corporate advertisements that dealt with ESG messages according to the type of corporate advertisement, the specificity and global fit of ESG message. As a result, corporate advertising does not critical element of ESG as message strategies. In order to effectively communicate ESG activities to public, corporate advertising should aim to deliver the messages deals G(Governance) regarding to the execution and performance of advertising in ESG. In terms of execution and performance, the specificity and global fit of message as message strategy should be used and global and regional strategies must be explored.
{"title":"Analysis of ESG in Corporate Advertising of Global Companies: Focusing on the Type of Corporate Advertising and Message Specificity","authors":"Bo-Yun Seo, Eun-Kyung Chung","doi":"10.32611/jgcc.2023.11.57.117","DOIUrl":"https://doi.org/10.32611/jgcc.2023.11.57.117","url":null,"abstract":"In a rapidly changing global environment, corporate advertising is one of the means by which global companies in domestic communicate with various public. The purpose of this study is to analyze the characteristics of corporate advertising by type and how ESG activities appear in corporate advertising to suggest the message strategies for neo-corporate advertising. For the purpose, this study analyzed TV advertisements and digital video advertisements of companies executed for three years from 2020 to 2022 in Korea. Also this study analyzed the characteristics of corporate advertisements that dealt with ESG messages according to the type of corporate advertisement, the specificity and global fit of ESG message. As a result, corporate advertising does not critical element of ESG as message strategies. In order to effectively communicate ESG activities to public, corporate advertising should aim to deliver the messages deals G(Governance) regarding to the execution and performance of advertising in ESG. In terms of execution and performance, the specificity and global fit of message as message strategy should be used and global and regional strategies must be explored.","PeriodicalId":161830,"journal":{"name":"Academic Association of Global Cultural Contents","volume":"39 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139205223","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 : 2023-11-30DOI: 10.32611/jgcc.2023.11.57.267
Hou Jue y, Jeongmin Ko
With the continued development of the media, the spread of multicultural dramas has become a common concern of the drama industry, and the export of dramas has become an important way to improve the culture of countries around the world. Currently, Chinese costume drama is actively consumed through OTT platforms, such as remakes in Korea. In order to maintain this desire of Korean viewers, the subjective viewing preference factors of Korean viewers were analyzed using the Q methodology and based on this, implications for the entry of Chinese costume drama into Korea were presented. As a result of the study, it was confirmed that the factors that Korean viewers prefer to watch Chinese costume dramas were divided into types that prefer traditional historical dramas and types that prefer fusion historical dramas. Cultural curiosity is the preferred factor in the pursuit of traditional culture that likes traditional historical dramas based on cultural similarities. Based on cultural similarities, fusion historical dramas can be divided into visual effect-seeking types that prefer colorful production environments and fandom-seeking types that prefer to like actors, and content excellence is the preferred factor. It can be seen that this is an individual's subjective taste in which various factors of preference for Chinese costume drama appear depending on the viewing tendency. This study is meaningful in presenting the factors of Korean viewers' preference for viewing differently depending on the preference for viewing traditional historical dramas and fusion historical dramas in the production environment of Chinese costume drama.
随着媒体的不断发展，多元文化剧的传播已成为电视剧行业共同关注的问题，而电视剧的输出也成为提升世界各国文化的重要途径。目前，中国古装剧通过韩国翻拍等 OTT 平台消费活跃。为了维护韩国观众的这一愿望，本研究采用Q法对韩国观众的主观收视偏好因素进行了分析，并在此基础上提出了中国古装剧进入韩国的启示。 研究结果证实，韩国观众观看中国古装剧的偏好因素分为偏好传统历史剧的类型和偏好融合历史剧的类型。基于文化相似性，文化好奇心是追求传统文化的观众喜欢传统历史剧的首选因素。基于文化相似性，融合型历史剧又可分为喜欢丰富多彩的制作环境的视觉效果追求型和喜欢演员的粉丝追求型，内容优秀是首选因素。可见，这是一种个人的主观趣味，在这种主观趣味中，根据观看倾向的不同，出现了对中国古装剧的各种偏好因素。 在中国古装剧的制作环境中，韩国观众根据对传统历史剧和融合历史剧的观看偏好，呈现出不同的观看偏好因素，本研究的意义在于此。
{"title":"A Study on the Q Methodology on the Factors of Korean Viewers’ Preference for Watching Chinese Drama: Focusing on Costume Drama","authors":"Hou Jue y, Jeongmin Ko","doi":"10.32611/jgcc.2023.11.57.267","DOIUrl":"https://doi.org/10.32611/jgcc.2023.11.57.267","url":null,"abstract":"With the continued development of the media, the spread of multicultural dramas has become a common concern of the drama industry, and the export of dramas has become an important way to improve the culture of countries around the world. Currently, Chinese costume drama is actively consumed through OTT platforms, such as remakes in Korea. In order to maintain this desire of Korean viewers, the subjective viewing preference factors of Korean viewers were analyzed using the Q methodology and based on this, implications for the entry of Chinese costume drama into Korea were presented. As a result of the study, it was confirmed that the factors that Korean viewers prefer to watch Chinese costume dramas were divided into types that prefer traditional historical dramas and types that prefer fusion historical dramas. Cultural curiosity is the preferred factor in the pursuit of traditional culture that likes traditional historical dramas based on cultural similarities. Based on cultural similarities, fusion historical dramas can be divided into visual effect-seeking types that prefer colorful production environments and fandom-seeking types that prefer to like actors, and content excellence is the preferred factor. It can be seen that this is an individual's subjective taste in which various factors of preference for Chinese costume drama appear depending on the viewing tendency. This study is meaningful in presenting the factors of Korean viewers' preference for viewing differently depending on the preference for viewing traditional historical dramas and fusion historical dramas in the production environment of Chinese costume drama.","PeriodicalId":161830,"journal":{"name":"Academic Association of Global Cultural Contents","volume":" 24","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139207330","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 : 2023-11-30DOI: 10.32611/jgcc.2023.11.57.39
SunJung Ryu
In the era of digital convergence, transmedia storytelling, which expands narratives by intertwining and combining multiple media, is creating a new paradigm for narrative creation. Puss in Boots, who appeared as a supporting role in , is a character derived from Charles Perrault's The Master Cat or Puss in Boots, and has gained significant popularity among the public. Due to its popularity, Puss in Boots became the main character in , a spin-off of . Subsequently, as achieved success, various transmedia content featuring Puss in Boots as the main character was produced across different media platforms, including mobile games, theatrical animations, OTT animations and interactive animation. This article aims to provide a detailed examination of the requirements and characteristics of transmedia storytelling. It also analyzes various instances of transmedia content utilizing the character of Puss in Boots. To scrutinize the transformation of characters' roles and the expansion of narrative structures, which are essential aspects of transmedia storytelling, we apply the 'actantial model' developed by A.J. Greimas to each content. Through this analysis, we can explore how the character of Puss in Boots serves as a pivotal link between transmedia contents and functions as a narrative mechanism. It becomes evident that discovering archetypal and fantasy characters, adapting their roles and personalities, and strategically reintroducing secondary characters while setting up foreshadowing are crucial elements in successful transmedia storytelling. Furthermore, it is essential to create an “integral” story universe that considers various types of connections between content, such as sequels, prequels, spin-offs, and reboots. This should be done while leveraging diversified media platforms that engage users in immersion and participation.
在数字融合时代，跨媒体叙事通过交织和结合多种媒体来扩展叙事，正在创造一种新的叙事创作范式。穿靴子的猫》中的配角 "穿靴子的猫"（Puss in Boots）是查尔斯-佩罗（Charles Perrault）的《猫爷》（The Master Cat）或《穿靴子的猫》（Puss in Boots）的衍生角色，在公众中拥有极高的人气。随后，随着《穿靴子的猫》的成功，以它为主角的各种跨媒体内容在不同的媒体平台上产生，包括手机游戏、戏剧动画、OTT 动画和互动动画。 本文旨在详细探讨跨媒体叙事的要求和特点。文章还分析了利用穿靴子的猫这一角色制作跨媒体内容的各种实例。人物角色的转变和叙事结构的扩展是跨媒体叙事的重要方面，为了仔细研究这两个方面，我们将 A.J. Greimas 开发的 "行为模型 "应用到每个内容中。通过这一分析，我们可以探讨穿靴子的猫（Puss in Boots）这一角色如何成为跨媒体内容之间的关键纽带并发挥叙事机制的作用。显而易见，发掘原型人物和幻想人物，调整他们的角色和性格，有策略地重新引入次要人物，同时设置预示，是成功讲述跨媒体故事的关键要素。此外，还必须创建一个 "完整 "的故事世界，考虑到内容之间的各种联系，如续集、前传、衍生产品和重启。要做到这一点，就必须利用多样化的媒体平台，让用户身临其境并参与其中。
{"title":"A Study on Transmedia Storytelling Using the Character of ‘Puss in Boots","authors":"SunJung Ryu","doi":"10.32611/jgcc.2023.11.57.39","DOIUrl":"https://doi.org/10.32611/jgcc.2023.11.57.39","url":null,"abstract":"In the era of digital convergence, transmedia storytelling, which expands narratives by intertwining and combining multiple media, is creating a new paradigm for narrative creation. Puss in Boots, who appeared as a supporting role in , is a character derived from Charles Perrault's The Master Cat or Puss in Boots, and has gained significant popularity among the public. Due to its popularity, Puss in Boots became the main character in , a spin-off of . Subsequently, as achieved success, various transmedia content featuring Puss in Boots as the main character was produced across different media platforms, including mobile games, theatrical animations, OTT animations and interactive animation. This article aims to provide a detailed examination of the requirements and characteristics of transmedia storytelling. It also analyzes various instances of transmedia content utilizing the character of Puss in Boots. To scrutinize the transformation of characters' roles and the expansion of narrative structures, which are essential aspects of transmedia storytelling, we apply the 'actantial model' developed by A.J. Greimas to each content. Through this analysis, we can explore how the character of Puss in Boots serves as a pivotal link between transmedia contents and functions as a narrative mechanism. It becomes evident that discovering archetypal and fantasy characters, adapting their roles and personalities, and strategically reintroducing secondary characters while setting up foreshadowing are crucial elements in successful transmedia storytelling. Furthermore, it is essential to create an “integral” story universe that considers various types of connections between content, such as sequels, prequels, spin-offs, and reboots. This should be done while leveraging diversified media platforms that engage users in immersion and participation.","PeriodicalId":161830,"journal":{"name":"Academic Association of Global Cultural Contents","volume":"7 20","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139196437","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 : 2023-11-30DOI: 10.32611/jgcc.2023.11.57.163
Yu-jin Son, Jong-oh Lee
The cultural city is a policy that aims to activate culture and arts in specific cities and achieve urban regeneration through them. The cultural city concept originated in 1985 with the European Capital of Culture program and has since expanded globally. In this paper, we focus on San Sebastián, which was designated as the European Capital of Culture in 2016, to examine the social values pursued by the European Capital of Culture and its specific case. Through San Sebastián's goals and detailed projects as the European Capital of Culture, we can identify several key points. Firstly, San Sebastián addressed the issues of violence and conflict inherent in the city and also explored the coexistence issue, which is a concern across Europe, through cultural arts. Secondly, it is based on citizen participation. From the challenging stage of competing to be the European Capital of Culture to the preparation and implementation stages after being selected, citizens were actively involved, and they were encouraged to conceive and execute projects that benefit the citizens themselves. Thirdly, the scope of the project is not limited to San Sebastián but extends to the Basque region and even throughout Europe. Additionally, the European Capital of Culture program expanded not only city-to-city networking but also networking at the organizational level.
{"title":"Realization of social values manifested in the European Capital of Culture of San Sebastian in 2016","authors":"Yu-jin Son, Jong-oh Lee","doi":"10.32611/jgcc.2023.11.57.163","DOIUrl":"https://doi.org/10.32611/jgcc.2023.11.57.163","url":null,"abstract":"The cultural city is a policy that aims to activate culture and arts in specific cities and achieve urban regeneration through them. The cultural city concept originated in 1985 with the European Capital of Culture program and has since expanded globally. In this paper, we focus on San Sebastián, which was designated as the European Capital of Culture in 2016, to examine the social values pursued by the European Capital of Culture and its specific case. Through San Sebastián's goals and detailed projects as the European Capital of Culture, we can identify several key points. Firstly, San Sebastián addressed the issues of violence and conflict inherent in the city and also explored the coexistence issue, which is a concern across Europe, through cultural arts. Secondly, it is based on citizen participation. From the challenging stage of competing to be the European Capital of Culture to the preparation and implementation stages after being selected, citizens were actively involved, and they were encouraged to conceive and execute projects that benefit the citizens themselves. Thirdly, the scope of the project is not limited to San Sebastián but extends to the Basque region and even throughout Europe. Additionally, the European Capital of Culture program expanded not only city-to-city networking but also networking at the organizational level.","PeriodicalId":161830,"journal":{"name":"Academic Association of Global Cultural Contents","volume":"37 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139206243","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 : 2023-11-30DOI: 10.32611/jgcc.2023.11.57.61
Chan Su Park, Jungmyoung Kim
The domestic and international publishing industry is facing environmental changes in the media industry. Information technology and data integration in the publishing industry are considered fundamental infrastructure for innovation and demand generation in the book business market. This study examines the digitization of publishing, with a focus on book metadata, to support the sustainable book ecosystem in South Korea, which is navigating through the evolving media landscape. The importance of book metadata lies in its efficient data utilization, data accumulation, enhancing discoverability and sales of books, as well as providing useful services to stakeholders in the publishing industry. Additionally, it plays a crucial role in marketing efficiency. In this context, the implications for the sustainability of the book ecosystem are as follows: Firstly, it involves cost savings through standardized book information input and the creation of an environment for marketing using uniform book data. Secondly, it emphasizes the need for interconnected sharing of information among publishers, bookstores, distributors, and other relevant parties. Thirdly, it highlights the requirement for data analysis infrastructure to support comprehensive support systems for stakeholders in the publishing and distribution ecosystem. Finally, it underscores the necessity of utilizing book metadata for the establishment of policies promoting the development of the publishing industry.
{"title":"A Study on the construction of Book Metadata for the Sustainability of Book Ecosystem","authors":"Chan Su Park, Jungmyoung Kim","doi":"10.32611/jgcc.2023.11.57.61","DOIUrl":"https://doi.org/10.32611/jgcc.2023.11.57.61","url":null,"abstract":"The domestic and international publishing industry is facing environmental changes in the media industry. Information technology and data integration in the publishing industry are considered fundamental infrastructure for innovation and demand generation in the book business market. This study examines the digitization of publishing, with a focus on book metadata, to support the sustainable book ecosystem in South Korea, which is navigating through the evolving media landscape. The importance of book metadata lies in its efficient data utilization, data accumulation, enhancing discoverability and sales of books, as well as providing useful services to stakeholders in the publishing industry. Additionally, it plays a crucial role in marketing efficiency. In this context, the implications for the sustainability of the book ecosystem are as follows: Firstly, it involves cost savings through standardized book information input and the creation of an environment for marketing using uniform book data. Secondly, it emphasizes the need for interconnected sharing of information among publishers, bookstores, distributors, and other relevant parties. Thirdly, it highlights the requirement for data analysis infrastructure to support comprehensive support systems for stakeholders in the publishing and distribution ecosystem. Finally, it underscores the necessity of utilizing book metadata for the establishment of policies promoting the development of the publishing industry.","PeriodicalId":161830,"journal":{"name":"Academic Association of Global Cultural Contents","volume":"205 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139204555","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 : 2023-11-30DOI: 10.32611/jgcc.2023.11.57.203
Hyeonjeong Lee, Woongjo Chang
This study employs universal design principles to enhance the house management strategy of theater venues, aiming to bolster accessibility and service delivery for vulnerable groups. A mixed-methods approach was adopted, encompassing in-depth interviews with disabled audience members, Customer Journey Mapping, and Focus Group Discussions with house management experts. The research underscores the critical role of house management in rectifying venue accessibility challenges faced by vulnerable groups due to financial constraints and lack of awareness. Furthermore, it introduces a novel framework based on the seven principles of universal design, serving as a guide for enhancing in-venue services. This research uniquely situates universal design within the realm of theater information services, highlighting house management's pivotal role in offsetting facility access shortcomings.
{"title":"Research on Improving Accessibility of Theater Venues for Audiences with Disabilities: A Critical Review of House Management with Universal Design","authors":"Hyeonjeong Lee, Woongjo Chang","doi":"10.32611/jgcc.2023.11.57.203","DOIUrl":"https://doi.org/10.32611/jgcc.2023.11.57.203","url":null,"abstract":"This study employs universal design principles to enhance the house management strategy of theater venues, aiming to bolster accessibility and service delivery for vulnerable groups. A mixed-methods approach was adopted, encompassing in-depth interviews with disabled audience members, Customer Journey Mapping, and Focus Group Discussions with house management experts. The research underscores the critical role of house management in rectifying venue accessibility challenges faced by vulnerable groups due to financial constraints and lack of awareness. Furthermore, it introduces a novel framework based on the seven principles of universal design, serving as a guide for enhancing in-venue services. This research uniquely situates universal design within the realm of theater information services, highlighting house management's pivotal role in offsetting facility access shortcomings.","PeriodicalId":161830,"journal":{"name":"Academic Association of Global Cultural Contents","volume":"23 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139208652","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 : 2023-11-30DOI: 10.32611/jgcc.2023.11.57.19
Tegyung Kim, Jaeeun Lee
What is the source of emotion in Demon Slayer? This phenomenon of Demon Slayer may be a response to the era of neoliberalism and meritocracy. This paper attempts to analyze the meaning of tears and emotion in the context of Jean-Luc Nancy’s Finiteness and Judith Butler’s Vulnerability. The blood demons and demon slayers depicted in Demon Slayer are a group led by a few leader and there is a very powerful hierarchy. In that sense, are they all caught up in elitism and meritocracy? If not, where is the line which distinguish humans from blood demons? This problem appears most intensively in the movie version of Demon Slayer: Mugen Train (2020), especially in the scene where Akaza and Rengoku Kyojuro encounter and fight, and the conversation they have there. His response to Akaza, who praises Kyojuro’s abilities and recommends him to become a blood demon, is, “Human gets sick, grows old, and dies. That’s why human is beautiful.” It implies an awareness of human finiteness and vulnerability. What is important is that only here does the possibility of true solidarity arise. Could it be that the subcultural imagination of Demon Slayer provides comfort and solace to those who are exhausted by modern society’s endless competition? In this way, it becomes clear that Demon Slayer, especially Demon Slayer: Mugen Train, is able to succeed as cultural content of our time because it has deep relevance regarding the core issues raised by modern philosophy and shared them with the public.
{"title":"Subcultural Imagination against the Myth of Meritocracy: Solidarity and Care in Demon Slayer","authors":"Tegyung Kim, Jaeeun Lee","doi":"10.32611/jgcc.2023.11.57.19","DOIUrl":"https://doi.org/10.32611/jgcc.2023.11.57.19","url":null,"abstract":"What is the source of emotion in Demon Slayer? This phenomenon of Demon Slayer may be a response to the era of neoliberalism and meritocracy. This paper attempts to analyze the meaning of tears and emotion in the context of Jean-Luc Nancy’s Finiteness and Judith Butler’s Vulnerability. The blood demons and demon slayers depicted in Demon Slayer are a group led by a few leader and there is a very powerful hierarchy. In that sense, are they all caught up in elitism and meritocracy? If not, where is the line which distinguish humans from blood demons? This problem appears most intensively in the movie version of Demon Slayer: Mugen Train (2020), especially in the scene where Akaza and Rengoku Kyojuro encounter and fight, and the conversation they have there. His response to Akaza, who praises Kyojuro’s abilities and recommends him to become a blood demon, is, “Human gets sick, grows old, and dies. That’s why human is beautiful.” It implies an awareness of human finiteness and vulnerability. What is important is that only here does the possibility of true solidarity arise. Could it be that the subcultural imagination of Demon Slayer provides comfort and solace to those who are exhausted by modern society’s endless competition? In this way, it becomes clear that Demon Slayer, especially Demon Slayer: Mugen Train, is able to succeed as cultural content of our time because it has deep relevance regarding the core issues raised by modern philosophy and shared them with the public.","PeriodicalId":161830,"journal":{"name":"Academic Association of Global Cultural Contents","volume":"47 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139206515","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 : 2023-11-30DOI: 10.32611/jgcc.2023.11.57.101
Hae-Linn Baek
Korean dramas have recently been expanding into various subjects such as zombies and time slips, etc. and it is easy to watch Korean-style apocalypse content based on zombies and viruses, which have not received much attention in Korea. Such OTT content is receiving a positive response not only in Asia but also in Western society. In this study, the storytelling of and was analyzed focusing on the cultural dimension so as to analyze the success factors of Korean OTT content, which has been popular globally. As a result, it was confirmed that Korean apocalypse content focuses on universal problems faced by human groups such as individualism, collectivism, class, and equality. Korean apocalypse content reveals a critical view of individualistic values by depicting the protagonist and antagonist as the opposition between collectivism and individualism and emphasizes the value of good and punishment by punishing those in power who desire wealth and power. In addition, the destruction of the human world is depicted as being caused by desire through the setting that an unknown virus spreads through human desire. In the end, in order to save the world, it is important to have a strong mind and a good heart that would value others more than oneself. In this way, Korean apocalypse content has been well-received by the public by incorporating oriental values into materials that have been neglected in the Korean video content genre, such as zombies and strange creatures, and it can be recognized that it is also receiving favorable reviews as a new apocalypse genre in Western culture.
近来，韩剧的题材不断拓展，如僵尸、时空幻境等，在韩国并不受关注的僵尸、病毒等题材的韩式启示录内容也很容易看到。此类 OTT 内容不仅在亚洲，在西方社会也获得了积极的反响。本研究从文化维度分析了 "和 "的故事性，从而分析了风靡全球的韩国 OTT 内容的成功因素。 结果证实，韩国的启示录内容关注人类群体面临的普遍问题，如个人主义、集体主义、阶级和平等。韩国的启示录内容揭示了对个人主义价值观的批判，将主角和反角描绘成集体主义和个人主义的对立面，并通过惩罚那些渴望财富和权力的掌权者来强调善与惩罚的价值。此外，通过未知病毒通过人类的欲望传播的设定，描绘了人类世界的毁灭是由欲望造成的。最后，为了拯救世界，必须要有强大的思想和善良的心，要把他人看得比自己更重要。由此可见，韩国的启示录内容在僵尸、怪兽等韩国视频内容类型中被忽视的素材中融入了东方价值观，受到了大众的欢迎，作为西方文化中新的启示录类型也获得了好评。
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Pub Date : 2023-11-30DOI: 10.32611/jgcc.2023.11.57.1
Junsoo Kang
The purpose of this study is to discuss ways to overcome the hikikomori phenomenon, a reclusive loner, through the Japanese film directed by Yamashita Nobuhiro (山下敦弘) released in 2013. Characteristics of hikikomori are dreamer temperament, escapism, and double appearance. Hikikomori shows a state of maladjustment in reality, with a tendency to identify imaginary images with reality. The gap between the ideal and the reality of hikikomori works as a factor that makes social adaptation difficult while generating cognitive dissonance. Basically, hikikomori shows fear of society or loss of confidence. Hikikomori fail to form bonds with others and experience wounds as people, entering their own world and living an isolated life. Hikikomori needs a period of recovery to become normal. This process can be defined as resilience, and the expression of interest and love between family members can have a direct impact. The female protagonist of this movie shows herself living a meaningless daily life without hope. In particular, this movie takes the attitude of calmly conveying the frustrating and helpless reality of young people from an objective standpoint and does not scold them. This is because the appearance of helpless young people is not arbitrary, but rather a result of issues of social responsibility or structure. The movie presents that the helpless heroine's daily life was a fierce inner struggle as she prepares step by step for her positive future. In conclusion, rather than unilaterally criticizing helpless young people, society and the older generation need to be more relaxed and interested in helping them develop resilience.
{"title":"A Study on the Characteristics of Hikikomori and Resilience in the Japanese Movie","authors":"Junsoo Kang","doi":"10.32611/jgcc.2023.11.57.1","DOIUrl":"https://doi.org/10.32611/jgcc.2023.11.57.1","url":null,"abstract":"The purpose of this study is to discuss ways to overcome the hikikomori phenomenon, a reclusive loner, through the Japanese film directed by Yamashita Nobuhiro (山下敦弘) released in 2013. Characteristics of hikikomori are dreamer temperament, escapism, and double appearance. Hikikomori shows a state of maladjustment in reality, with a tendency to identify imaginary images with reality. The gap between the ideal and the reality of hikikomori works as a factor that makes social adaptation difficult while generating cognitive dissonance. Basically, hikikomori shows fear of society or loss of confidence. Hikikomori fail to form bonds with others and experience wounds as people, entering their own world and living an isolated life. Hikikomori needs a period of recovery to become normal. This process can be defined as resilience, and the expression of interest and love between family members can have a direct impact. The female protagonist of this movie shows herself living a meaningless daily life without hope. In particular, this movie takes the attitude of calmly conveying the frustrating and helpless reality of young people from an objective standpoint and does not scold them. This is because the appearance of helpless young people is not arbitrary, but rather a result of issues of social responsibility or structure. The movie presents that the helpless heroine's daily life was a fierce inner struggle as she prepares step by step for her positive future. In conclusion, rather than unilaterally criticizing helpless young people, society and the older generation need to be more relaxed and interested in helping them develop resilience.","PeriodicalId":161830,"journal":{"name":"Academic Association of Global Cultural Contents","volume":"61 22","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139196539","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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