• Journal of Korea Entertainment Industry Association
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• v.13 no.6
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• pp.87-94
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• 2019

South Korean films narrate exquisitely, express emotions implicitly and employ magnificent images, exemplifying unique oriental aesthetics. This paper takes Along with the Gods: The Two Worlds (2017) as an example to analyze the meaning of oriental aesthetics in South Korean films using the Film Narrative Theory. It is a fantasy blockbuster depicting family kinship stories. It structures with the familiar karma and reincarnation of Asian Buddhism with the core of family kinship. Perfectly interpreting the fantasy world of hell with stunning movie effects, it shows the family kinship of families under the main plot line of a horror film.

• 기호학연구
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• no.54
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• pp.177-203
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• 2018

On this study, we analyzed the movie With gods's narrative structure. This movie makes most people who has seen it feel deeply moved. We think that people can get deep feeling from a film at last after people who has seen the movie accept a context, story, and a message of the movie gladly. We focused on a special system in this movie With gods that can make give an ordinary message and big touch to people. Also we focused on every episodes of every space in a movie, and someone who moved freely between the spaces. A repetitive form and repetitive contents in a narrative become a special code itself -repetitiveness- for people and make them do auto-communication. Specifically, an information, the movie's repetitiveness, out of people become a special code for them, and then that make people bring memory and new information by themselves. Watching movie, people can look back up on life with every trial in the movie. In short, a repetitiveness and an auto-communication are a special system in the movie, that can make deeply touched.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.41-76
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• 2020

Recently, the cinema industry faced a crisis on the rise of various media platforms such as Netflix, Amazon Prime, IPTV, and Kakao Page. The rate of film release in the theater has become ever shorter, and the secondary consumption of film through IPTV, tablet, PC, or mobile has seen a drastic increase. In the midst of this new media-geography, the most significant change in recent years would be the rise of the 'fantasy film' genre. This paper explores the conditions and characteristics of fantasy films in the way in which the genre has been constituted, and delves into particular aspects that its contents contain. This is an attempt to understand the sociology of the birth of a new genre. In this process, this paper will ask two frequently raised questions in regard to this genre. The first is to ask whether we can discern fantasy from reality, and the second is to examine whether the fantasy genre implicates certain social subversion. These two questions aim to discover how fantasy forms a relationship with reality and what this means. To do so, this paper will trace the genealogy of the fantasy film genre in Korea and analyze recent big hits such as the series as the model case of digital fantasy film. Through this exploration, this paper will be able to provide a new sociology of the fantasy film production and consumption in the 21^st century Korea.