• Journal of Digital Convergence
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• v.18 no.6
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• pp.435-441
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• 2020

This study attempts to analyze by the gender political point of view of the recent film, 'A Special Lady', focusing on the case of setting up women as the main characters in the 2000s Korean film noir genre. Concretely, this study conducted a narrative analysis focusing on the three elements of genre film, the identity of the characters and their family relationships, and the Oedipal trajectory. The film, 'A Special Lady', has the narrative about the maternal love assigned to female protagonist, and that emphasizes male pure love. And the film shows the flashbacks concerning to motherhood that prove the biological identity of the female protagonist, and signs that weaken the castration fear resulting from male voyeurism. Further, the film depicts the fragmentation of identity and the cracking of family relationships, revealing the confusion of gender identity and the narrative degeneration into family melodrama. Meanwhile, the film fails to complete the feminine Oedipal trajectory by reducing the female character's motherhood to a biological one instead of expanding it into an alternative quality embracing the other. These findings suggest that the korean gangster is closely related to gender politics and is not completely out of gender bias.

• Korea Information Processing Society Review
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• v.11 no.1
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• pp.20-28
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• 2004

영화 '스타워즈'를 보면 적들과 대치하고 있는 일촉즉발의 위기 상황에서 '해결사'가 나타나 공주의 메시지를 공중에 홀로그램으로 재생시켜 모면책을 알려주고 순식간에 사라지는 장면이 나온다. 그리고, 영화 '마이너리티 리포트'에서는 주인공 톰크루즈가 가족과 찍은 동영상을 일반적인 디스플레이가 아닌 공중에다 홀로그램을 펼쳐놓고 3차원 입체영상을 만들어 회상하는 장면이 나온다.(중략)

• Journal of Popular Narrative
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• v.27 no.2
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• pp.215-262
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• 2021

This thesis focuses on Wandeuki and Elegant Lies - novels written by Kim Ryeo-reong and adapted into the film by Director Lee Han; this thesis analyzes the process of storytelling being transformed as the media is converted. Also, this thesis discusses cultural-political implications of transmedia storytelling where different narrative responses coexist concerning post-IMF family disorganization and "individualization." First of all, this thesis critically reviews existing discourses on the concept of transmedia storytelling and refers to 'transfictionality' the narratological concept of Marie-Laure Ryan in order to look into media conversion storytelling that starts from original novels. The novels Wandeuki and Elegant Lies show two aspects of "individualization" that adopts existential conditions of family disorganization. Wandeuki deviates from patriarchal family romance through self-discovery and exhibits loose family bond, which is something similar to companionship of close individuals. Elegant Lies shows individualization of pain by portraying a teenager who found herself completely isolated, while showing that it is impossible for the people left behind to mourn. On the other hand, director Lee Han's films and show stories in which family members, who are confronting family dissolution, rediscover and restore their families against family dissolution. The film promotes the expansion of family community through multicultural identity, and the film completes condolence of the people left behind by having the remaining families survive as survivors of suicide. The storyworld of the novels puts emphasis on 'self-discovery' of individual adolescents, while the storyworld of the movies puts emphasis on 'rediscovery of family'. Through transformation of storytelling - especially the redesigning of narrative structures called "modification" - transmedia storytelling shows that the relationship between media-converted texts is far from "faithful representation," but rather, shows conflicting themes and perspectives. With a reference point of 'the emergence of character' transmedia storytelling, which is predicated on the original work but aims to free itself from the original work by transforming storytelling through media conversion, opens up polyphonic storyworld by creating heterogeneous voices. In the post IMF-era, where uncertainty mounts over family dissolution and individualization, polyphonic storyworld created by transmedia storytelling provides an opportunity to experience disparate desires over individual freedom/risk and complacency toward community. We can call this the cultural-political implication of transmedia storytelling based on transferring, transcednding, and transforming.

• The Journal of the Korea Contents Association
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• v.22 no.9
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• pp.510-519
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• 2022

This study aims to examine how delusions and hallucinations are expressed as representative symptoms of schizophrenia in the two films and . We look at how the two films show the appearance and overall image of the schizophrenic patient, the emotional expression of the schizophrenic patient, and how family and colleagues express the perceptions of the schizophrenic patient's symptoms. Finally, we will examine the perception of treatment measures for schizophrenia. Comprehensively, through this process, the schizophrenia symptoms expressed in the two films will have some effect on social perception of schizophrenia and the social implications of therapeutic intervention for schizophrenia recovery.

• (The) Research of the performance art and culture
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• no.40
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• pp.37-69
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• 2020

This study was designed to investigate the characteristics, aesthetics, similarities and differences through the flow of Korean female movies. In order to carry out this study, four movies with representations of each age had to be selected. These four films are respectively Sweet Dream produced during the Japanese colonial period, Madame Freedom which prompted the debate on feminism in the 1950s, The Silver Stallion Will Never Come which combines the devastated lives of women in the 1990s with anti-malevolent views, and A Good Lawyer's Wife which presents a futuristic selection of Korean feminist films. Especially, these works are noteworthy in that they guarantee the typicality and representative of Korean films in each period. Based on this, two common motifs appearing in these works have been intensively studied. One is a 'cage' motif that symbolizes women's detention and the other is a 'mirror' motif that women need to be aware of their situation and check the current situation. Korean women's films have not only shared some of the motifs of 'Cage' and 'Mirror', but also have focused on conveying the author's message that ultimately aimed at linking these motifs.

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.587-596
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• 2013

Film is all about people. Characters in films represent the worldviews and perspectives on "people" of film directors. Lee Chang-Dong, Lim Sang-Soo, These are the directors who concentrate on "persona" in their films, but in turn, they see it at unique and distinctive angles. Director Lee Chang-Dong seeks for innocence as the core of humanity and hopes to recover it in his films. On the other hand, director Lim Sang-Soo keeps his sarcastic and nihilistic stances towards human nature, claiming that we are just mere beings who "happen to" be living and staying at our time in history. This paper examines the contrasting views on 'human nature' of the two directors, which are uniquely explored in the films , of Lee Chang-dong and , , of Lim Sang-soo respectively. What is the true human nature that each of these two directors wants to imbue his films with and how different are their perspectives?

• Trans-
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• v.14
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• pp.93-122
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• 2023

Children's films can be found by country and region within the scope of world films, but children's films have different definitions depending on the country and region. For example, American children's films represented by Disney are mainly aimed at satisfying the joys of children and families.Chinese children's films place more importance on the educational role of children. Although the purpose is different, children's films in the general sense are films that main audiences are children and are created for children. Children's films in Iran differ greatly from ordinary children's films. It indirectly expresses the creator's intention by reflecting reality while looking at the adult world through the eyes of children. This special function is a children's visual language that indirectly conveys the creator's thoughts. The use of children's perspective is a kind of special strategy, paving the way for Iranian films to survive in a special creative environment, and creating unique characteristics of Iranian films. Among the numerous Iranian directors who make children's films, Majid Majidi is one of the representative directors with personal characteristics. Of his nine Iranian films written and directed, five are children's films.At the same time, in his other Iranian films, we can more or less see the traces of children and children's perspective of the narrative and performance.Looking at the use of children's vision in Iranian films, the use of children's vision in Iranian films began with children's films and developed in Iranian children's films and other genres of Iranian films.

• The Journal of the Korea Contents Association
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• v.20 no.10
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• pp.57-75
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• 2020

This study identifies the symbolism of cross symptoms of different classes during the modernization process based on the imagery of and , both of which are Korean films made in the same era of the 1960s. The study referred to a number of Korean family movie films in the 1960s, in particular and , which are notably different in ways of expression and in social class of the subject matter, and identifies how the films express the mixed aspects of the cross modernization period. The film uses a grotesque expressionist method to voyeuristically look into a newly emerging middle class family, and the deconstructive aspect of a family unit whose excessive desire leads to its own ruin; thus, the film presents a new perspective into the various social issues that emerge in the near future. In contrast, engages realistic depictions to describe in detail the deep conflict of pain and hope within the hardships of life from the urban poor through a deep family conflict. Ultimately, the two films expose the various social issues through the familiar and the unfamiliar that appear from the mixed aspects of the cross modernization period, in other words, the conflicting images of the traditional and the modern.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.429-465
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• 2019

This paper analyzed the ways in which "others" were reproduced in Korean movies in the 1970s. In the midst of the social changes of the era, such as urbanization due to rapid industrial modernization, many people became laborers for industry in order to obtain the fruits of modernization.But the landscape of others, which was inevitably produced in the process of constructing such subjects, has been limited to analysis that is focused on gender and youth discourse. This article aims to extract the landscape of others in the 1970s by adopting a different perspective. The way in which the other is present can be divided into the following two categories. First, in 1970s film, the family community, in contrast with 1960s film, has disintegrated and cracked, due to the inability of others to enter or leave the community. The desperate perception that the family community can no longer function as a stable foundation or center of the constitution, and that it cannot have a sense of security and belonging,is revealed through the way the others are wandering in and out of the community. Second, 'Death' is an element of social life in the violence of the national ideology of the 1970s, and the everyday exceptional state. The way in which the 'other' is completely eliminated from the normal subjectivity requested by the state and is deported in film reflectshow everyday death or potential death is part of life of the 1970s. Normal life pursued through rapid urbanization and industrialization leads to the death of the other beings, but the way of existence of others is the desperate reality of the 1970s, when the boundaries of the state that provide stability and belonging are broken. As a result, the landscape of others in the 1970s reveals a violent reality that destroys the perfect middle class family discourse that industrial modernization was oriented around in the 1970s, and that produced masses of others who caused numerous deaths. In spite of regime censorship, Korean films were popularly revealing the violence of life brought in by the 1970s, following a detour of representation.

• 건강소식
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• v.36 no.11
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• pp.38-39
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• 2012

2011년 여성가족부가 선정한 기족친화우수기업 롯데시네마. 10월 11일 방문한 롯데시네마 김포공항관은 친환경적 시설과 최첨단 장비로 쾌적한 관람 환경을 구현했을 뿐만 아니라 한국건강관리협회 서울강남지부와 협력관계를 맺고 직원들의 복리후생 향상과 건강증진을 위해 노력하고 있었다.