Pub Date : 2022-08-31DOI: 10.32611/jgcc.2022.8.52.289
Jonghyun Lee
This study expands the concept of trans-identity storytelling and explores its potential as a film criticism methodology. Trans-identity storytelling is a theory that studies narratives from the perspective of characters on the premise that the composition of movie narratives is developed with a focus on the change of person's identity. In order to be precise in the content of the concept, the etymological meaning of ‘Trans’ and the perception of existing scholars were examined, and the characteristics of incompleteness of words were useful in explaining beings that were wealthy or changed in the world's recognition system. The concept of ‘Trans-media storytelling’, a relative concept of trans-identity storytelling, was critically reviewed, and it was revealed that both industrial and humanistic values were included due to the content-oriented and human-oriented nature of the concept. In addition, trans identity storytelling is connected to the traditional narrative writing principle and embraces popularity in that it aims for a change in characters. On the one hand, the act of changing identity is a phenomenon that deviates from the universal realm in defiance of the solid recognition system of the existing society, and encompasses the value of diversity in terms of individuality and specificity against universality. In other words, trans- identity storytelling is a narrative theory that can convey their stories interestingly while illuminating people outside the mainstream of the world. Furthermore, if film criticism is a work to seek positive changes in the world by discovering profound content on the basis of film's outerization, trans-identity storytelling, which criticizes the world's dichotomous perception system and respects the values of various humans, becomes the foundation of endless profoundness. Film criticism and trans-identity storytelling can be connected by a shared point that aims for change in humans and the world. In the future, we hope that trans-identity storytelling, which conveys the value of humanity, will become rich and that movie criticism from the perspective of trans-identity, which leads to the transformation of the world, will become the mainstream.
{"title":"Exploring the Possibility of Trans-Identity Storytelling as a Methodology for Film Criticism","authors":"Jonghyun Lee","doi":"10.32611/jgcc.2022.8.52.289","DOIUrl":"https://doi.org/10.32611/jgcc.2022.8.52.289","url":null,"abstract":"This study expands the concept of trans-identity storytelling and explores its potential as a film criticism methodology. Trans-identity storytelling is a theory that studies narratives from the perspective of characters on the premise that the composition of movie narratives is developed with a focus on the change of person's identity. In order to be precise in the content of the concept, the etymological meaning of ‘Trans’ and the perception of existing scholars were examined, and the characteristics of incompleteness of words were useful in explaining beings that were wealthy or changed in the world's recognition system. The concept of ‘Trans-media storytelling’, a relative concept of trans-identity storytelling, was critically reviewed, and it was revealed that both industrial and humanistic values were included due to the content-oriented and human-oriented nature of the concept. In addition, trans identity storytelling is connected to the traditional narrative writing principle and embraces popularity in that it aims for a change in characters. On the one hand, the act of changing identity is a phenomenon that deviates from the universal realm in defiance of the solid recognition system of the existing society, and encompasses the value of diversity in terms of individuality and specificity against universality. In other words, trans- identity storytelling is a narrative theory that can convey their stories interestingly while illuminating people outside the mainstream of the world. Furthermore, if film criticism is a work to seek positive changes in the world by discovering profound content on the basis of film's outerization, trans-identity storytelling, which criticizes the world's dichotomous perception system and respects the values of various humans, becomes the foundation of endless profoundness. Film criticism and trans-identity storytelling can be connected by a shared point that aims for change in humans and the world. In the future, we hope that trans-identity storytelling, which conveys the value of humanity, will become rich and that movie criticism from the perspective of trans-identity, which leads to the transformation of the world, will become the mainstream.","PeriodicalId":161830,"journal":{"name":"Academic Association of Global Cultural Contents","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130388848","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 : 2022-08-31DOI: 10.32611/jgcc.2022.8.52.119
H. Han, J. Shin
Most feminist criticisms of media content center on patriarchal ideology, highlighting the problem of representation. The concept of becoming, despite its ambiguity in practice, seems theoretically useful for interpreting minority politics, including feminism. Becoming is a concept that drives women’s desires to transcend their traditional role of being secondary to men in the patriarchal system. This article introduces examples of various content to more precisely understand Deleuze and Guattari’s concept of becoming, which has been applied in interdisciplinary ways. In the future, it will be possible to explore feminist micropolitical practice through interpretation and creation of content in connection with Deleuze and Guattari's concept of becoming.
{"title":"Deleuze and Guattari’s becoming and the Potential for Feminist Criticism of Cultural Content","authors":"H. Han, J. Shin","doi":"10.32611/jgcc.2022.8.52.119","DOIUrl":"https://doi.org/10.32611/jgcc.2022.8.52.119","url":null,"abstract":"Most feminist criticisms of media content center on patriarchal ideology, highlighting the problem of representation. The concept of becoming, despite its ambiguity in practice, seems theoretically useful for interpreting minority politics, including feminism. Becoming is a concept that drives women’s desires to transcend their traditional role of being secondary to men in the patriarchal system. This article introduces examples of various content to more precisely understand Deleuze and Guattari’s concept of becoming, which has been applied in interdisciplinary ways. In the future, it will be possible to explore feminist micropolitical practice through interpretation and creation of content in connection with Deleuze and Guattari's concept of becoming.","PeriodicalId":161830,"journal":{"name":"Academic Association of Global Cultural Contents","volume":"74 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132900989","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 : 2022-08-31DOI: 10.32611/jgcc.2022.8.52.309
Jungmi Cho, Taesuk Kihl
In this study, the process of AR game storytelling based on the physical place of Myeong-dong and the historical and cultural information of Myeong-dong in the 1920s-30s was specified, noting that the spatio-temporal meaning of the place can be discovered, expanded, and shared through game play in AR games. The main concept of Myeongdong Nori (tentative name) game design is Myeongdong experience in the 1920s and 30s based on AR technology, and the target experience is storytelling through reasoning, place experience, and role experience activities. In place-based AR games, players derive different games based on their experiences and choices, and actively construct the meaning of the game, which requires storytelling that provides rich information and situations. Therefore, characters, places, episodes, and visual materials centered on Myeong-dong in the 1920s and 30s were widely collected, and information DB was constructed using digital tools, and a series of processes were presented to plan game storytelling based on this. It is hoped that the place-based AR game storytelling study based on Myeong-dong content in the 1920s and 30s covered in this study can be used as the basis for a place-based AR game design model in which virtual time and real space-time experience are realized in the future.
{"title":"AR game design based on Myeong-dong contents and place in 1920-30s: Focusing on AR game Myeongdong Nori","authors":"Jungmi Cho, Taesuk Kihl","doi":"10.32611/jgcc.2022.8.52.309","DOIUrl":"https://doi.org/10.32611/jgcc.2022.8.52.309","url":null,"abstract":"In this study, the process of AR game storytelling based on the physical place of Myeong-dong and the historical and cultural information of Myeong-dong in the 1920s-30s was specified, noting that the spatio-temporal meaning of the place can be discovered, expanded, and shared through game play in AR games. The main concept of Myeongdong Nori (tentative name) game design is Myeongdong experience in the 1920s and 30s based on AR technology, and the target experience is storytelling through reasoning, place experience, and role experience activities. In place-based AR games, players derive different games based on their experiences and choices, and actively construct the meaning of the game, which requires storytelling that provides rich information and situations. Therefore, characters, places, episodes, and visual materials centered on Myeong-dong in the 1920s and 30s were widely collected, and information DB was constructed using digital tools, and a series of processes were presented to plan game storytelling based on this. It is hoped that the place-based AR game storytelling study based on Myeong-dong content in the 1920s and 30s covered in this study can be used as the basis for a place-based AR game design model in which virtual time and real space-time experience are realized in the future.","PeriodicalId":161830,"journal":{"name":"Academic Association of Global Cultural Contents","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131506683","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 : 2022-08-31DOI: 10.32611/jgcc.2022.8.52.269
HoHyun Lyu
In the era of the 4th industrial revolution, it is undeniable that the cultural and economic impact of the game industry, which is the forefront industry of the IP (Intelligent Property) value chain, is becoming increasingly important. Amid this trend, identifying recent trends in the game industry and major game contents in other countries and analyzing their success factors are essential tasks for cultural content industry and its researchers. Meanwhile, China, not only as a content consumer but also as a content producer, is increasing its influence in all directions through the expansion of IT infrastructure in line with its rapid economic growth. In this context, this article targets China's open-world CCG RPG game Genshin Impact. The game emerges as an important analysis target in several contexts, including its popularity established in the global game market and its special position as a ‘Chinese game’. In terms of content creation, operation, and marketing, this article aims to analyze Genshin Impact’s Trans-nationality strategy beyond ‘Chinese characteristics’ or ‘Chinese characteristics’. Secondly, this article focus on the ‘Character Moe’ code that functions as a key mechanism of the storyworld construction and a business model of this game. Through this, this article intends to examine the reason of Genshin Impact’s global success and popularity as a trans-national storyworld.
{"title":"Construction of Trans-National Storyworld by Genshin Impact","authors":"HoHyun Lyu","doi":"10.32611/jgcc.2022.8.52.269","DOIUrl":"https://doi.org/10.32611/jgcc.2022.8.52.269","url":null,"abstract":"In the era of the 4th industrial revolution, it is undeniable that the cultural and economic impact of the game industry, which is the forefront industry of the IP (Intelligent Property) value chain, is becoming increasingly important. Amid this trend, identifying recent trends in the game industry and major game contents in other countries and analyzing their success factors are essential tasks for cultural content industry and its researchers. Meanwhile, China, not only as a content consumer but also as a content producer, is increasing its influence in all directions through the expansion of IT infrastructure in line with its rapid economic growth. In this context, this article targets China's open-world CCG RPG game Genshin Impact. The game emerges as an important analysis target in several contexts, including its popularity established in the global game market and its special position as a ‘Chinese game’. In terms of content creation, operation, and marketing, this article aims to analyze Genshin Impact’s Trans-nationality strategy beyond ‘Chinese characteristics’ or ‘Chinese characteristics’. Secondly, this article focus on the ‘Character Moe’ code that functions as a key mechanism of the storyworld construction and a business model of this game. Through this, this article intends to examine the reason of Genshin Impact’s global success and popularity as a trans-national storyworld.","PeriodicalId":161830,"journal":{"name":"Academic Association of Global Cultural Contents","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133828102","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 : 2022-08-31DOI: 10.32611/jgcc.2022.8.52.183
Ji-ho Tae
The 1990s are already in the past, but they are still being recalled to our society in various forms. The phenomenon of past culture re-emerging in the present time and space is not so new, but what this paper pays attention to is why it is the 1990s and why it is now. To this end, this paper first examined the characteristics of culture in the 1990s through Arjun Appadurai's concept of landscape and Raymond Williams' concept of structure of feeling. From this point of view, it was confirmed that culture in the 1990s was forming a structure of feeling in the context of changes in domestic and foreign politics, economy, and international order. In particular, it has been confirmed that the dominant are consumer culture and cultural industry, the residual is a culture of action and reaction of political power, and the emergent is digital culture, and they coexist together and form a structure of feeling of culture in the 1990s. Later discussions focused on the concept of memory and dealt with the aspects of this 1990s culture being recalled and what it means today. First of all, it was discussed that culture in the 1990s was a kind of myth, although it is currently residual. This is because it has economic value and at the same time provides a refuge from the contradiction of reality. And it has been confirmed that remembering the culture of the 1990s is part of the way individuals expand and continue to connect and participate, and that today, it is becoming a puissance of the community. Through this, it was confirmed that remembering the culture of the 1990s means that our society recognizes the value of the residual, and that it is part of the performance of social members to construct identity.
{"title":"Why do we remember the 1990s?: The cultural aspects of the 1990s and the present meaning of remembering them","authors":"Ji-ho Tae","doi":"10.32611/jgcc.2022.8.52.183","DOIUrl":"https://doi.org/10.32611/jgcc.2022.8.52.183","url":null,"abstract":"The 1990s are already in the past, but they are still being recalled to our society in various forms. The phenomenon of past culture re-emerging in the present time and space is not so new, but what this paper pays attention to is why it is the 1990s and why it is now. To this end, this paper first examined the characteristics of culture in the 1990s through Arjun Appadurai's concept of landscape and Raymond Williams' concept of structure of feeling. From this point of view, it was confirmed that culture in the 1990s was forming a structure of feeling in the context of changes in domestic and foreign politics, economy, and international order. In particular, it has been confirmed that the dominant are consumer culture and cultural industry, the residual is a culture of action and reaction of political power, and the emergent is digital culture, and they coexist together and form a structure of feeling of culture in the 1990s. Later discussions focused on the concept of memory and dealt with the aspects of this 1990s culture being recalled and what it means today. First of all, it was discussed that culture in the 1990s was a kind of myth, although it is currently residual. This is because it has economic value and at the same time provides a refuge from the contradiction of reality. And it has been confirmed that remembering the culture of the 1990s is part of the way individuals expand and continue to connect and participate, and that today, it is becoming a puissance of the community. Through this, it was confirmed that remembering the culture of the 1990s means that our society recognizes the value of the residual, and that it is part of the performance of social members to construct identity.","PeriodicalId":161830,"journal":{"name":"Academic Association of Global Cultural Contents","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114470532","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 : 2022-08-31DOI: 10.32611/jgcc.2022.8.52.33
Jaemin Lee, Seolmin Yoon
Recently, local streets are being created with spatial contents such as themed streets. This means that a simple everyday space is realized as a cultural space, and it is expected to play a role as a medium to improve the quality of cultural life of the residents and further more realize the local identity. Sejong City, which was launched in 2012 for balanced national development, also intends to utilize ‘Hangeul’, the greatest achievement of King Sejong the Great, as a cultural material for realizing urban identity, and is creating a ‘Sa-rang Street for Hangeul’ in Hansol-dong, Sejong City. Sejong City established an ordinance to utilize Hangeul as a cultural material, and established an institutional and administrative base by establishing a Hangeul Promotion Department. The Hangeul Sa-rang Street was selected as the Hansol-dong where the first village is located through a local contest. This study aims to analyze the effect of spatial content creation on the lives of residents using the Hangeul Sa-rang Street in Sejong City as a case, and a statistical analysis method was applied to conduct the study. As a result of analysis based on the questionnaire of 211 people, it can be confirmed that the name and development potential of Hangeul Sa-rang Street were all high with an average value of 4.0 or higher based on a 5-point likert scale. In addition, it was investigated that ‘improving the pedestrian environment’, ‘improving convenience facilities’, and ‘creating a square’ were important for residents to create a Hangeul Sa-rang Street. In addition, it was found that the Sa-rang for Hangeul was generally positively perceived in economic, social, cultural, and environmental aspects. Based on this analysis, the conclusion was firstly revealed that both local residents and merchants positively recognized and expected Hangeul Sa-rang Street. Second, in creating the Hangeul Sa-rang Street, it is necessary to consider the pedestrian environment, plazas, and convenience facilities first. Third, it was analyzed that Hangeul Sa-rang Street needs to be implemented as a spatial content representing Sejong City through long-term and gradual supplementation rather than simply a space for tourism.
{"title":"The Effect of the Creation of Local Spatial Content on the Lives of Residents: A Case of Hangeul Sa-rang Street in Sejong City","authors":"Jaemin Lee, Seolmin Yoon","doi":"10.32611/jgcc.2022.8.52.33","DOIUrl":"https://doi.org/10.32611/jgcc.2022.8.52.33","url":null,"abstract":"Recently, local streets are being created with spatial contents such as themed streets. This means that a simple everyday space is realized as a cultural space, and it is expected to play a role as a medium to improve the quality of cultural life of the residents and further more realize the local identity. Sejong City, which was launched in 2012 for balanced national development, also intends to utilize ‘Hangeul’, the greatest achievement of King Sejong the Great, as a cultural material for realizing urban identity, and is creating a ‘Sa-rang Street for Hangeul’ in Hansol-dong, Sejong City. Sejong City established an ordinance to utilize Hangeul as a cultural material, and established an institutional and administrative base by establishing a Hangeul Promotion Department. The Hangeul Sa-rang Street was selected as the Hansol-dong where the first village is located through a local contest. This study aims to analyze the effect of spatial content creation on the lives of residents using the Hangeul Sa-rang Street in Sejong City as a case, and a statistical analysis method was applied to conduct the study. \u0000As a result of analysis based on the questionnaire of 211 people, it can be confirmed that the name and development potential of Hangeul Sa-rang Street were all high with an average value of 4.0 or higher based on a 5-point likert scale. In addition, it was investigated that ‘improving the pedestrian environment’, ‘improving convenience facilities’, and ‘creating a square’ were important for residents to create a Hangeul Sa-rang Street. In addition, it was found that the Sa-rang for Hangeul was generally positively perceived in economic, social, cultural, and environmental aspects. Based on this analysis, the conclusion was firstly revealed that both local residents and merchants positively recognized and expected Hangeul Sa-rang Street. Second, in creating the Hangeul Sa-rang Street, it is necessary to consider the pedestrian environment, plazas, and convenience facilities first. Third, it was analyzed that Hangeul Sa-rang Street needs to be implemented as a spatial content representing Sejong City through long-term and gradual supplementation rather than simply a space for tourism.","PeriodicalId":161830,"journal":{"name":"Academic Association of Global Cultural Contents","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130393131","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 : 2022-08-31DOI: 10.32611/jgcc.2022.8.52.93
Soung-su Kim
As virtual reality technology continues to develop and become known to the public, SF films featuring VR video games have often been produced. Among them, a film 《Avalon》(2001) produced by Mamoru Oshii of Japan, famous for directing the animation 《Ghost in the Shell》(1995) is considered an art film masterpiece by SF enthusiasts, though it has failed in popular box office. Since film audiences enter the virtual world from the real world through the screen, the film 《Avalon》 which is related to VR metaverse video games, can be understood as a double embodiment of the virtual. This could be in line with the concept of ‘make-believe’ in the Kendall L. Walton's mimesis theory. This is because the self of a human being is happily deceived by various mechanical devices that implement VR and enjoys the virtual world by being confused between the virtual and the real. In this paper, the film 《Avalon》 is examined from the perspective of ‘the virtual and the real’. The film is interpreted with the conceptual tools such as legends, the virtual world, the self, ‘make-believe’ and mythical cultural archetypes. Thus, it can be seen that director Mamoru Oshii produced the religious SF film 《Avalon》 under the background of mind-body dualism and the self experiencing various levels of reality, and wanted to portray the virtual reality space of video games which does not exist in reality. On the battlefield of the video game, the character of the game player has to be killed and revived countless times. The confusion between virtual and reality is the core notion of the movie. The lives of the 21st century people seem to be somewhere in the middle of fantasy, heroism, samsara and video games, and cyberculture where second selves are created. It seems that 《Avalon》 wants to portray our reality in the fable of a VR video game movie.
随着虚拟现实技术的不断发展和为公众所熟知，以VR视频游戏为主题的科幻电影也经常出现。其中，曾执导动画片《攻壳机动队》(1995年)的日本押井守导演的电影《阿瓦隆》(2001年)虽然票房惨淡，但被科幻爱好者认为是艺术电影的杰作。由于电影观众是通过屏幕从现实世界进入虚拟世界的，所以与VR虚拟世界电子游戏相关的电影《阿瓦隆》可以理解为虚拟的双重体现。这可能符合肯德尔·沃尔顿(Kendall L. Walton)模仿理论中的“假装”概念。这是因为人的自我被实现VR的各种机械设备愉快地欺骗，在虚拟与现实的混淆中享受虚拟世界。本文从“虚与实”的角度来审视电影《阿瓦隆》。这部电影是用传说、虚拟世界、自我、“虚构”和神话文化原型等概念工具来诠释的。由此可见，押井守导演在心身二元论和自我体验不同层次现实的背景下，制作了宗教科幻电影《阿瓦隆》，想要描绘现实中不存在的电子游戏虚拟现实空间。在电子游戏的战场上，游戏玩家的角色必须被无数次杀死和复活。虚拟与现实的混淆是这部电影的核心概念。21世纪人们的生活似乎处于幻想、英雄主义、轮回、电子游戏和创造第二自我的网络文化的中间。《阿瓦隆》似乎想用VR游戏电影的寓言来描绘我们的现实。
{"title":"A Confusion of Virtual Reality and Reality in the VR Video Game-based Film 《Avalon》: With a Focus on the Notions of Self, Make-believe, and Legend","authors":"Soung-su Kim","doi":"10.32611/jgcc.2022.8.52.93","DOIUrl":"https://doi.org/10.32611/jgcc.2022.8.52.93","url":null,"abstract":"As virtual reality technology continues to develop and become known to the public, SF films featuring VR video games have often been produced. Among them, a film 《Avalon》(2001) produced by Mamoru Oshii of Japan, famous for directing the animation 《Ghost in the Shell》(1995) is considered an art film masterpiece by SF enthusiasts, though it has failed in popular box office. Since film audiences enter the virtual world from the real world through the screen, the film 《Avalon》 which is related to VR metaverse video games, can be understood as a double embodiment of the virtual. This could be in line with the concept of ‘make-believe’ in the Kendall L. Walton's mimesis theory. This is because the self of a human being is happily deceived by various mechanical devices that implement VR and enjoys the virtual world by being confused between the virtual and the real. In this paper, the film 《Avalon》 is examined from the perspective of ‘the virtual and the real’. The film is interpreted with the conceptual tools such as legends, the virtual world, the self, ‘make-believe’ and mythical cultural archetypes. Thus, it can be seen that director Mamoru Oshii produced the religious SF film 《Avalon》 under the background of mind-body dualism and the self experiencing various levels of reality, and wanted to portray the virtual reality space of video games which does not exist in reality. On the battlefield of the video game, the character of the game player has to be killed and revived countless times. The confusion between virtual and reality is the core notion of the movie. The lives of the 21st century people seem to be somewhere in the middle of fantasy, heroism, samsara and video games, and cyberculture where second selves are created. It seems that 《Avalon》 wants to portray our reality in the fable of a VR video game movie.","PeriodicalId":161830,"journal":{"name":"Academic Association of Global Cultural Contents","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130867507","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 : 2022-08-31DOI: 10.32611/jgcc.2022.8.52.331
Bo-Yeun Yun
This study aims to examine the thought inherent in the hero narrative of the TV drama series, Itaewon Class. That is because it is judged that the universal value of mankind is contained in the heroic narrative, which is the prototype of the narrative. This is why this study aims to explore the philosophical thoughts of chung-seo (忠恕) as a theoretical background. The idea of chung-seo, a core concept of Confucius along with benevolence (仁) and rite (禮), is understood in terms of Juja’s ideas. In this context, chung (忠) refers to jinsimjigi (盡心之己) which means doing one’s best to keep his heart, and seo (恕) refers to not forcing others to do what he or she does not want to do. This study utilizes the heroic narrative stages advanced by Christopher Vogler as a method to analyze the drama, Itaewon Class in order to find the intertextuality between the drama and the ideology of chung-seo. Therefore, this paper first confirms that the drama is a heroic narrative, and tries to reveal the thought inherent in the drama. The study results are as follows: In the drama, Itaewon Class with a heroic narrative, a vocation is given to the main character, Sae-Roi Park to exclude violence, and the changed vocation is to prove that the business ethics is keeping faith with his coworkers. And, through the fulfillment of the main character’s vocation, the drama successfully acquires the elixir of moral life orientation. In addition, as a result of analysis, it was found that the main character, Sae-Roi Park, is a character with the idea of chung, the necessary and sufficient condition for a hero. In this context, chung is extended from the self, to the others, to the society, etc. Based on this, the main character practices the idea of chung, which returns chung to the main character, leading him to achieve his purpose. This is the universal moral value contained in the drama. Through this, this study confirms that the ideology inherent in the drama Itaewon Class is the ideology of chung-seo.
{"title":"Confucian Ideas hidden in a modern hero epic of K-Drama: Focusing on the Korean TV drama series, Itaewon Class","authors":"Bo-Yeun Yun","doi":"10.32611/jgcc.2022.8.52.331","DOIUrl":"https://doi.org/10.32611/jgcc.2022.8.52.331","url":null,"abstract":"This study aims to examine the thought inherent in the hero narrative of the TV drama series, Itaewon Class. That is because it is judged that the universal value of mankind is contained in the heroic narrative, which is the prototype of the narrative. This is why this study aims to explore the philosophical thoughts of chung-seo (忠恕) as a theoretical background. The idea of chung-seo, a core concept of Confucius along with benevolence (仁) and rite (禮), is understood in terms of Juja’s ideas. In this context, chung (忠) refers to jinsimjigi (盡心之己) which means doing one’s best to keep his heart, and seo (恕) refers to not forcing others to do what he or she does not want to do. This study utilizes the heroic narrative stages advanced by Christopher Vogler as a method to analyze the drama, Itaewon Class in order to find the intertextuality between the drama and the ideology of chung-seo. Therefore, this paper first confirms that the drama is a heroic narrative, and tries to reveal the thought inherent in the drama. The study results are as follows: In the drama, Itaewon Class with a heroic narrative, a vocation is given to the main character, Sae-Roi Park to exclude violence, and the changed vocation is to prove that the business ethics is keeping faith with his coworkers. And, through the fulfillment of the main character’s vocation, the drama successfully acquires the elixir of moral life orientation. In addition, as a result of analysis, it was found that the main character, Sae-Roi Park, is a character with the idea of chung, the necessary and sufficient condition for a hero. In this context, chung is extended from the self, to the others, to the society, etc. Based on this, the main character practices the idea of chung, which returns chung to the main character, leading him to achieve his purpose. This is the universal moral value contained in the drama. Through this, this study confirms that the ideology inherent in the drama Itaewon Class is the ideology of chung-seo.","PeriodicalId":161830,"journal":{"name":"Academic Association of Global Cultural Contents","volume":"83 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129218445","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 : 2022-08-31DOI: 10.32611/jgcc.2022.8.52.207
Yong-Been Cho, Borim Kim
Cultural contents require a complex and holistic approach while responding to technological developments entering the 4th industrial age. For this, creativity based on the humanities is required. It is very important to improve creative problem-solving ability based on creativity, and methodological research to improve it while applying it to real problems is urgently needed. In this study, we propose an action learning-based video content class model to cultivate creativity and creative problem-solving ability. In addition, reflecting the reality that classes beyond face-to-face classes are needed due to COVID-19, the expansion of online and offline blended action learning was promoted. Through this study, it is hoped that the study of the cultural content class model that is helpful in solving practical problems will be continuously realized, and I hope that the diversity of cultural content at the interface between the humanities and technology will be made more actively.
{"title":"Based on Blended Action Learning to Improve Creative Problem-Solving Ability Development and Application of Cultural Contents Class Model: Focused on Video Content Class","authors":"Yong-Been Cho, Borim Kim","doi":"10.32611/jgcc.2022.8.52.207","DOIUrl":"https://doi.org/10.32611/jgcc.2022.8.52.207","url":null,"abstract":"Cultural contents require a complex and holistic approach while responding to technological developments entering the 4th industrial age. For this, creativity based on the humanities is required. It is very important to improve creative problem-solving ability based on creativity, and methodological research to improve it while applying it to real problems is urgently needed. In this study, we propose an action learning-based video content class model to cultivate creativity and creative problem-solving ability. In addition, reflecting the reality that classes beyond face-to-face classes are needed due to COVID-19, the expansion of online and offline blended action learning was promoted. Through this study, it is hoped that the study of the cultural content class model that is helpful in solving practical problems will be continuously realized, and I hope that the diversity of cultural content at the interface between the humanities and technology will be made more actively.","PeriodicalId":161830,"journal":{"name":"Academic Association of Global Cultural Contents","volume":"199 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124454030","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 : 2022-08-31DOI: 10.32611/jgcc.2022.8.52.1
Yeongeun Noh, Woongjae Ryoo
Contrary to the spirit and values that the Gwangju Biennale initially planned to pursue, some controversies have continued from its inception to the present. Hence, this essay examined the political, economic, and social contexts underlying the issues comprehensively. Especially, the purpose of this essay was to analyze the characteristics of the Gwangju Biennale from its launch to the present, focusing on some issues, political and economic tensions, national and local power relations surrounding the Gwangju Biennale as a prominent cultural industry. First of all, in the early stage of the establishment of the Biennale Foundation, almost all pertinent local policy makers were from Honam regions, and this was the main reason for a conflictual relationship with artists and cultural planners, and also showing authoritarian elitism and exclusivity. Second, since the 2000s, the foundation has made changes such as planning projects to harmonize with local residents to accept the criticism raised earlier, but it could be seen that the Biennale is losing its values and agenda due to a lot of pressure from both inside and outside. Third, as an alternative, the Biennale showed efforts to achieve economic independence, but it was operated through the sponsorship of local companies and capitalists, revealing a lack of public nature of the foundation. Lastly, the Gwangju Biennale attempted to utilize and expand city's locality as a cultural hub city and plan a series of industries specialized in local characteristics, but another criticism was raised since there were still problems and conflicts, relating such issues as, corruption and labor management within the foundation.
{"title":"Political Economy of Local Cultural Contents: A Critical Research on the Gwangju Biennale as a Local Cultural Industry","authors":"Yeongeun Noh, Woongjae Ryoo","doi":"10.32611/jgcc.2022.8.52.1","DOIUrl":"https://doi.org/10.32611/jgcc.2022.8.52.1","url":null,"abstract":"Contrary to the spirit and values that the Gwangju Biennale initially planned to pursue, some controversies have continued from its inception to the present. Hence, this essay examined the political, economic, and social contexts underlying the issues comprehensively. Especially, the purpose of this essay was to analyze the characteristics of the Gwangju Biennale from its launch to the present, focusing on some issues, political and economic tensions, national and local power relations surrounding the Gwangju Biennale as a prominent cultural industry. \u0000First of all, in the early stage of the establishment of the Biennale Foundation, almost all pertinent local policy makers were from Honam regions, and this was the main reason for a conflictual relationship with artists and cultural planners, and also showing authoritarian elitism and exclusivity. Second, since the 2000s, the foundation has made changes such as planning projects to harmonize with local residents to accept the criticism raised earlier, but it could be seen that the Biennale is losing its values and agenda due to a lot of pressure from both inside and outside. Third, as an alternative, the Biennale showed efforts to achieve economic independence, but it was operated through the sponsorship of local companies and capitalists, revealing a lack of public nature of the foundation. Lastly, the Gwangju Biennale attempted to utilize and expand city's locality as a cultural hub city and plan a series of industries specialized in local characteristics, but another criticism was raised since there were still problems and conflicts, relating such issues as, corruption and labor management within the foundation.","PeriodicalId":161830,"journal":{"name":"Academic Association of Global Cultural Contents","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131357496","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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