• Journal of Popular Narrative
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• v.26 no.4
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• pp.117-144
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• 2020

The film Burning (Lee Chang-dong, 2018) is one of the most noted Korean films in recent years as a work that unfolds an elaborate narrative in a delicate visualization. This film is a multi-vocal text in which different types of characters appear and scattered objective facts and ambiguous subjective desires are intertwined, so it is a text that has room for diverse interpretations. This article attempts to read Burning as an ethical discourse centered on the protagonist Jong-su, noting that the film raises universal and significant ethical issues that transcend the specific social and historical conditions of a contemporary Korean youth. I would like to examine the situation in which Jong-su is facing and his reaction to it, above all, from the perspective of Jong-su's ethical awakening and leap forward. Jong-su, a young South Korean non-regular man living in the present, encounters and connects with Hae-mi and Ben and attempts to understand the mysteries of the world. His trajectory, which the film shows closely, inevitably intersects the social and historical dimension of confusion and frustration of a young man graduated from the Department of Creative Writing, the reality of family dissolution and the individual psychological dimension of the sudden disappearance of his lover Hae-mi. Burning is a magistrate film that depicts Jong-su as an ethical subject oriented toward 'communal togetherness' while confronting the world and exploring its mysteries despite all his unfavorable conditions, such as his social position of the precariat youth and the epistemological uncertainty of reality perception. It is read as a story of his painful growth, in which Jong-su is becoming a 'writer', who once was a helpless non-regular delivery worker.

• The Journal of the Korea Contents Association
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• v.12 no.7
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• pp.65-75
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• 2012

Throughout the agraian society, industrial society, information society, and the knowledge-based society, the word father has become the representation of the law, oder, control, protection, and discipline. This study, with traditional fairy tale "Le petit chaperon rouge", aim to analyze the child readers a notion familly around 'me' and conceiving the father as the unit of the institution; also, in the Korean film , cinema audiences feeling keenly the necessity of the conventional family values and looking for the poster of principal agent of law and order. Generally the father is protector of 'me' and simutaneously, is incorporal being; even if he is inessential, he has, only by the name, great influence with people(law, order, control, discipline, are operating only with the name as the father God does). Our study will show how the signifier father operates and what similarity is between the film and the traditional fairy tale. A father is recognized as a tyrant or criminal, but a man is always realized to undertake a duty of resisting unjust powers and protecting nonperson. Those opposing structures was well represented in epic works such as"Le petit chaperon rouge" and . The father described in children's tale appeared as a symbol of desire and oppression, therefore youngster readers realized around 'Me' the concept of family through the absence of a father and received the father as a unit in the system. A father in a film has been described as a protector of nonperson, and a main part in the institution and order of traditional family. In both genre, the psychological signifiant of father still has been shown based on the symbol of father as a social institution.

• The Journal of the Korea Contents Association
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• v.16 no.6
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• pp.54-62
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• 2016

This study conducted semiotic analysis of drama . Based on Paradigm, Syntagm concept, I apprehended the characteristics of descriptive structure of drama, characters and contemplated on ideology reflected in the drama. As a result, it has approaching method of Critical Pluralism which strongly exposes resistance ideology. The drama intensified Classical Ideology such as gender role, hero, and family ideology, also it consists of Humane Introspection Ideology such as self-understanding, mutual-understanding, and self-serving bias.

• Journal of Popular Narrative
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• v.26 no.2
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• pp.251-276
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• 2020

The purpose of this article is to critically read Globalizing Borderlands Studies in Europe and North America to examine trends in border studies conducted so far in Europe and North America and to discuss the expandability and limitations of the narrative. It introduces a variety of case studies covering the borderlands of Europe and North America from ancient to modern times. It consists of a total of 10 chapters, in addition to the introduction chapter to clarify the purpose and definition of the collaboration and the short conclusion chapter on the prospects for the future of borderlands studies. This volume has some important implications for current borderland research in two main respects. First, it can introduce us we the areas and targets that the leading researchers from European and North American academia (usually the United States') have paid attention to. It also examines the current status of borderland research and predicts whether it will be possible to study various border areas where exist in other regions (especially in Asia) based on accumulating academic achievements, as well as the possibility of expansion of so-called 'globalization'. Second, it introduces the borderland as a conceptual space, beyond the border area as a physical space that is commonly thought of when it comes to 'border'. Cases of "conceptual borderlands" can be applied to a number of topics ranging from an individual's identities to the methods of governance, religions, economies, social institutions, families, labor issues, public health services and gender issues. There are, however, also some questions to be noted in the volume: the lack of consistent use of terminology, which can be considered general problems of collaboration studies; the fact that the authors still tend to understand borderlands within the imperialist discourse, perhaps because of their academic background is situated mainly in Europe and North America; the borderlands cases described here as the areas of conflict and struggle only. Nevertheless, the book is of significance in that it suggests a possibility of various borderlands studies and helps us to have better understanding of the current geopolitical situation imposed on the Korean Peninsula, which is located on the borderland between the continental and maritime powers.

• The Journal of the Korea Contents Association
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• v.20 no.11
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• pp.368-377
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• 2020

In this paper, the transmission and the phases of the memories in the novels dealing with Vietnam War have been studied. As a research method, Aleida Assmann's memory theory which plays a role in culturoloy theory is utilized. This study shows firstly that the others' voices excluded from the official memories of Vietnam War have emerged. Vietnam War novels released after 1990s actively reflecting the others' voices transmitted fresh the cultural memories. As the stories of civilian massacre, defoliant victims, and children of mixed bloods, Lai Daihan excluded from the official memories have emerged as a main them in the Vietnam War novels, they have become resistant memories. Existence and Formality, a Vietnam War novel by Bang Hyeonsuk brings up how to remember Vietnam War. His another novel, Time to Eat Lobster shows that without the fundamental retrospect and introspection of Vietnam War, Korea can't help but have the identity of America. Secondly, this paper shows that the tragedy of Vietnam War remains as a trauma that human bodies remember. White War by Ahn Jeonghyo shows that the memory moves back to the past in the process of struggle. In the novel, Slow Bullet by Lee Daehwan the phases of demage from defoliants lead to the family's tragedy. The Red Ao Dai by O Hyeonmi shows how a Korean-Vietnamese overcomes negation of his father and win his identity. In A Sad Song in Saigon shows that a mixed blood, Sairang who suffered from the confusion of his identity and his story fell down to a romance novel because of the weakness of narrative.

• The Journal of the Korea Contents Association
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• v.15 no.7
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• pp.157-169
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• 2015

This study focuses on Korea films of historical communication. Narrative analysis was conducted on the films in 2000s including , and <26 Years> that mainly have dealt with the 'Gwangju Democratization Movement'. As a result of the syntagmatic analysis, these films try to stabilize 'social imbalances' in the aspect of individuals and conceals issues of social structure. In addition, the result of paradigmatic analysis reveals that textual factors of 'active involvement of female characters', 'continuity of history through the survivors' demonstrate its strategies to publicize the historical truth. Consequently these films show its limitations that weakens historical meaning by placing unsolved problems of social structure as well as the love story. But rather than describing it as a history of the past, these films act as a catalyst to bring thins specific historical issue to our present lives and publicize it as a current issue. Therefore, the historical film not only allows current generation to remind to history but also to provide an opportunity to publicize the important issues of social structure in the present society.

• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.175-183
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• 2022

This study comparatively analyzed the cultural codes of Korea and Turkey represented in the Turkish film remaking the Korean original film. Although both films follow the narrative of resisting the tyranny of public power based on fatherly love, similarities and differences were revealed depending on the socio-cultural contexts of Korea and Turkey. First of all, Korea and Turkey valued familialism under the influence of Confucianism and Islam respectively. This was represented as a fatherly love, willing to sacrifice himself for the sake of his daughter. Meanwhile, in the Turkish version, there was a difference in the interpretation of the Islamic identity that encompasses the lives of Turkish people and the consequent human sinfulness and death. In the film, the prisoners repented of their personal sinfulness under Islamic doctrine, and sought salvation by activating the muslim brotherhood. This contrasts with the original work, which uses religion as a humor element that highlights the genre characteristics of comedy films, along with the social atmosphere in Korea that allows for the coexistence of various religions. In addition, Turkish one draws on the realistic issues of the military dictatorship of Turkey in the 1980s and the abolition of the death penalty for EU membership, bringing out a film narrative as a drama genre.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.123-161
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• 2019

The popularity of melodrama indicates that melodrama is composed in a historical context. This is the reason why it is necessary to analyze the imagination of melodrama within a sociocultural context rather than asking the essentialistic question of "What is melodrama?". (2016) and (2018) caused sensations while holding unchallenged top positions in terms of viewing rate and popularity. These dramas indicate the popular imagination and desire of Korean society in the 2010s during a period of upheaval. This paper analyzed imagination in melodrama with a focus on nation and emotions of individuals in and . In preexisting dramas, conflicts are often limited to individuals and families; on the contrary, in and , a nation appears as a motif that forms conflicts between individuals. In these intense situations of conflict, people make rational judgments at first; however, they soon dispose of such judgments and reveal value-oriented attitudes through emotions, which drive actions. Both dramas form poésie mainly through poetic rhyming and the mise-en-scène of objects. The dramas also amplify emotions. The main emotions of these dramas are sympathy and sadness. Such emotions are not consumed in itself; instead, they show moral aims through performativity. Consequently, sympathy becomes solidarity, and sadness becomes mourning. Unlike preexisting melodramas whose endings were simply pursuits of love and happiness within the realm of individuals, and demonstrate a moral imagination that simultaneously reminds us of the individual and community through solidarity and mourning.

• The Journal of the Korea Contents Association
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• v.18 no.3
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• pp.361-368
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• 2018

This study analyzes movie by individualiztion theory of JUNG. It is about the mother and the boy who killed the family and a lot of people based on the original novel of the same name. Movies based on maternal love express the maternal sublime devoted to their children, or act as a genre film that introduces maternity even against social myth or ethics. It expresses the desire of a woman to clash with maternity and raises questions about maternal ideology.The maternal ideology was a modern product had fixed sex role in industrialized societies.As a resukt, maternal love is identified with femininity unlike paternal love. Women are emphasized to be responsible for raising safe social members beyond individual responsibility. The movie develop story about crime that occurred in motherson relationship which lacks attachment formation in fostering process. This is not a recuurence of the maternal ideology of mother who miscarried child because she lacked motherhood. Mother Eva projected a conflict that is between maternal ideology and her desire on motheson relationship.Son Kevin also experiences a projection that influenced his persona through his mother. In this paper, I analyze through JUNG's individualization theory that The characters face their projected ego and realize self-fulfillment by searching of their own life goal out of external role or ideal.

• The Journal of the Korea Contents Association
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• v.21 no.12
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• pp.748-756
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• 2021

In this study, as the first attempt to develop an experiential game tourism program using Korean classical literature, the primary research was conducted on Kim Soo-Jang and his anthology "Hae Dong Ga Yo". To this end, a theoretical review of the value of hands-on games and Korean classical literature as tourism content was conducted first. Afterwards, the consumers for the program were set up into three categories: family unit, MZ generation including lovers, and foreigners. A survey was conducted to confirm the program preference of each group. According to the analysis framework, the main value of each historical and cultural resource in "Hae Dong Ga Yo" and seven sijo pieces created by Kim Soo-Jang was discovered and, based on the survey, the preferences of the consumer related to the target were analyzed. Accordingly, the narrative structures were organized differently for each group. An adventure plot was designed for the family unit, a love plot for MZ generation and lovers, and a mixture of adventure and love for foreigners. Utilizing stories from Kim Soo-Jang and his works, which are rarely used despite their value, this study attempted to develop them into hands-on game tourism programs to create new outlets in terms of both Korean classical literature and the tourism area. In the future, if various Joseon literati are discovered and their storytelling is continued, we can expect the vitalization of the travel product line with the concept of classical literature travel.