• The Journal of the Korea Contents Association
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• v.16 no.12
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• pp.78-90
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• 2016

The contents industry is usually divided into the movie industry, music industry, drama industry and the online digital industry. In Korean contents industry, since mid-1990s CJ E&M (Entertainment and Media) has implemented and continued experimental attempts in order to expand the hallyu contents. On basis of a theoretical background, I designed a case study to investigate the mechanism how the CJ E&M's strategy influences on hallyu growth. This study categorized the strategic direction into two key factors: digital business and glocal (global + local) contents production. Those attempts have made positive effect to the expansion of hallyu contents and creation of growth in CJ E&M. CJ E&M have increased experimental movement through digital platform augmentation, digital contents enhancement, and contents creator promotion strategies. In addition, utilization of local contents expert who provide production services for joint production at overseas markets should also be organized to expand the hallyu contents and growth of CJ E&M. This study suggests that the quality of digital business and glocal contents production have a positive relationship with hallyu contents growth and corporate performance.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.5
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• pp.94-107
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• 2008

This study examines the diversity of garden culture in the Joseon Dynasty focusing on genre painting. Genre painting gives us insight into the various ways of enjoying the garden. The intimate activities portrayed in the painting show us about the vivid scenes of Korean garden at that time. Among the various meanings of gardens, sensual pleasure is focused on here. The garden has always been a place of pleasure for seeing, smelling, touching, meeting people and erotic flirting. Here, the oriental aesthetic idea of Pungryu is adopted to reformulate pleasure based on the traditional way of thought. Most Korean gardens in the Joseon Dynasty were understood as the place for Pungryu. Sensuality in the Korean garden associated with a high level of spiritual pleasure. In order to look closely into garden activities, genre paintings were selected and analyzed. Several characteristics were elicited. First, the garden was understood as the medium of communication through reconciling man with nature. Mediating man with nature often calls for uplifting the sense of community within groups of people. Second, the garden was featured as the place of cultural creation. Many scholars utilized the garden as a place for poetic imagination. Therefore, the garden was the locus of intellectual discourse. Third, personal retreat was one of important functions in the Korean garden. the humble attitude toward landscape such as solitude and mediation might be understood as one way of enjoying the nature. Fourth, taste, power and social relations were embedded in garden culture. Therefore, the garden was regarded as a space of distinction. Garden making was understood as one of the high class leisure activity. It was quite natural that the garden was used as a place of showing up their taste and culture. Finally, we need to reinvigorate the rich meanings of garden in contemporary practices. In-depth analysis of garden culture through the lens of genre painting gives us quite useful information in Korean garden culture.

• Journal of Korean Classical Literature and Education
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• no.32
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• pp.287-326
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• 2016

This study describes the acceptance of Hae-Dong-Yu-Yo(海東遺謠), which is a book the 19th century to 20th century, into the genre of poetry. In chapter 2, I searched for lists, constructions and arrangement of poems in Hae-Dong-Yu-Yo(海東遺謠). The book has not only 39 poems (gasa) in Korean, but also more than 20 poems (hansi) in Chinese. I also found two new poems by the editor of the book. This shows that the receiver fully accepts the poetry and that he has equal consideration for Korean songs as well as hansi ones. In chapter 3, I focused on the red and blue points inside letters. When we read only the red and blue points within the poetry, I realized that Hae-Dong-Yu-Yo(海東遺謠) created these for poetry's literary value, not for music or songs. This reveals how the editor of Hae-Dong-Yu-Yo(海東遺謠) received the older famous poems as his own. This shows us the degree of acceptance of Korean classical poetry and songs, and therefore leads us to believe that this can be of use to present learners as well.

• Journal of Korean Library and Information Science Society
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• v.50 no.1
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• pp.85-103
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• 2019

This study aims to analyze the direction of the reading education programs based on the 2015 revised curriculum and to seek the plans for the school library and the teacher librarian to be able to contribute them. For this purpose, the types of school-based reading education programs in the report of 100 excellent school curriculum in 2016, which was first applied by the amended curriculum were analyzed through multiple intelligences. Upon the analysis results, the reading education programs in the schools showed to be operated with interpersonal Intelligence. Community-aligned reading was the most frequently operated in the primary schools while student reading club activities were the most common in the middle and high schools. In case of reading education program related to linguistic intelligence, the most commonly operated ways were reading books, writing with literatures, and writing book report, in primary, middle, and high schools, respectively. In case of reading education program related to spatial intelligence, media production type showed the most commonly operated in all types of schools. However, there was no reading program related to naturalist intelligence. Based on these analysis results, the plans to contribute the activation of reading education programs by school libraries under the 2015 amended curriculum were suggested in the aspects of development of connection programs with teachers, students and parents as the center of education community, installation and operation of maker spaces and enhancement of program management and inquiry-based learning competency of teacher librarians.

• (The)Study of the Eastern Classic
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• no.72
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• pp.97-126
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• 2018

has many sexual elements among our literature. So is considered obscene. But if you take a closer look at , you can see that he is dealing with the real problem. Especially, the conflict between Gangsoe and Jangseung shows the contradiction of reality. However, it can not be questioned because it is hidden behind sexual elements. 's strategy of revealing is similar in Media Narrative. has been made into a film since the 1980s. However, these films stayed at the level of B-erotic movies. The real meaning of is gone, and the sexual image is more emphasized. Incidentally, this aspect is related to reality at the time. At that time, the military was in control of politics. So I wanted the people not to be interested in politics. For this reason, many erotic movies were created. Eventually, the strategy of revealing was even more maximized in Media Narrative. But recently there was a new attempt like . This was a new attempt to go beyond the standardized approach. Future interpretations of are expected more.

• The Journal of the Convergence on Culture Technology
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• v.7 no.3
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• pp.197-202
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• 2021

This paper focuses on the situation in which, as pluralistic democracy spreads globally from the mid-20th century, the concept of publicness, the reason for the existence of traditional public art, is not limited to the physicality of occupying public space or the conditions for creation by public funds, but is seeking a new direction and examine the social significance of these changes. For this purpose, the main body of this paper analyzes the major public art projects of Freee Art Collective who were active in the UK in the early 2000s. Freee performed various public art projects in which individuals constituting a community critically reflect on political, social, and economic issues related to public goods and provide a discourse space for democratic discussion. Their practice suggested a methodology for socially-engaged public art that resists the "Third Way" cultural policy of the New Labour administration. Therefore, this paper argues that Freee's public art seeks alternatives to publicness in that it allows one to resistively think about problematic aspects of hegemonic cultural production of neoliberal cultural policy that pursues political consensus and social harmony. This research about Freee's public art would be significant in that it can serve as an opportunity for critical reflection on the contemplative form and public role of contemporary public art.

• The Journal of the Convergence on Culture Technology
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• v.8 no.3
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• pp.143-148
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• 2022

The subject of this paper is the practical examples of technoculture that critically thinks network technology, a strong material foundation in the era of data capitalism in the 21st century, and appropriates its socio-cultural metaphor as an artistic potential. In order to analyze its alternatives and the meaning of cultural politics, this paper examines the properties and influence of data capitalism after the 2008 global financial crisis, and the cultural and artistic context formed by its reaction. The first case considered in this paper, Furtherfield's workshop, provided a useful example of how citizens can participate in social change through learning and education in which art and technology are interrelated. The second case, Greek hackerspace HSGR, developed network technology as a tool to overcome the crisis by proposing a new progressive cultural commons due to Greece's financial crisis caused by the global financial crisis and a decrease in the state's creative support. The third case, Paolo Cirio's project, promoted a critical citizenship towards the state and community systems as dominant types of social governance. These technoculture cases can be evaluated as efforts to combine and rediscover progressive political ideology and its artistic realization tradition in the context of cultural politics, paying attention to the possibility of signifying practices of network technology that dominates the contemporary economic system.

• 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.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.217-226
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• 2020

Ajaeng is the bowed string instrument among zither instruments in East Asia, which has a circular form to date, and it has established itself as an important instrument in today's creative Gugak along with traditional music. Looking at previous prior studies, musical instrument studies have not been actively conducted due to insufficient data from musical history studies, and this study looked at the origin, form of musical instrument, and performance methods of zither bowed string instrument through historical records of Chinese Yazheng and music drawings. The analysis of various documents showed that Ajaeng originated from an ancient Chinese traditional musical instrument called Chuk. In terms of the performance style, the Chinese Yazheng had different musical forms depending on the purpose and location of the performance, and there was a method of standing up and fixing the musical instrument horizontally to the ground. Ajaeng in Korea has been handed down without much change in the form of musical instruments introduced in China during the Goryeo Dynasty and the way they sit on the floor and play on a pedestal. Through this study, we hope that it will help to preserve and develop traditional music and Korean traditional musical instruments by enhancing understanding of musical.

• Cartoon and Animation Studies
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• s.44
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• pp.333-361
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• 2016

In general, content business companies include animation industry can have benefits, which they have higher incomes when they obtain wider markets. Therefore, they pursue to have diverse windows for content distribution or to reach the foreign markets for dealing their content products with potential customers. It have the greatest value. They can re-invest the incomes to produce their new products, and they can enhance the international competitiveness of their next products. As the results, the companies can have more incomes and wider markets in next business, and it will be the effectiveness of the good cycle of the animation industry. Animation industry has being undergone of its structure changes, more economical chances and viewers' attitudes changes through the all over the industry because of the acceptance of new digital technology. To response the changes or have the new chances from the changes, they should to review the existing system and the law concerned with the animation business as well as having the diverse new plans for supporting the industry like a construction of the online marketplace of Korean animation. It would make the Korean animation companies to meet foreign customers easily by making lower the entrance barrier of the foreign markets. Current Korean government needs to estimate the value of the Korean animation accurately and objectively by concerning its surroundings to support efficiently. However, it is very difficult to estimate the value of the content rightly because of its' intangible and subjective matter. For this, they should analyze the all the data of the information of the Korean animation content by accumulate, open to the public and manage. So if the government makes online marketplace for the Korean animation, which all the Korean animation companies get in, it would be a solution of estimating the value of the Korean animation rightly. In addition, it will be used as the role of archive of the government to lead the industry successfully. As a point of the small size of the Korean animation companies, they are government dependable because of its low budget, so they strongly expect the government to do the right role as the unique knowledge distributor. Therefore, the Korean animation online marketplace would make not only big companies, but also small companies to have the chances to increase the value of their content in the global markets by themselves without economic burdens.