• Korean Association of Arts Management
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• no.50
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• pp.147-175
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• 2019

Gentrification is the process by which a working class or other disadvantaged area of a city changes into a middle class residential or commercial district. Gentrification, which has received much attention in arts management in recent years as part of a concern with urban regeneration, carries a generally negative connotation. In this paper, we interrogate this negative view of gentrification to explore ways arts entrepreneurship can convert the perceived threat of gentrification into opportunity. To this end, we examine the Mullae Cultural Salon in the gentrifying district of the Mullae Creative Village. Through a literature review of gentrification and arts entrepreneurship, we propose seven elements of art entrepreneurs responding to gentrification as an analytic framework for research. Our findings indicate that arts entrepreneurs were able to extend the maturity phase of gentrification and thus enhance the cultural and artistic value of the region for other artists and arts entrepreneurs.

• Cartoon and Animation Studies
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• s.46
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• pp.63-84
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• 2017

Overwhelming images of vividly colored aircraft flying across the blue sky and steam gushing from massive machines are reminiscent of Japanese animation films, especially of works by master director Hayao Miyazaki. By presenting together steam engines, which are mechanical devices of the Industrial Age in the past, and aircraft of the future age, the director constructs ambiguous space and time. These special time and space constitute nostalgia for past time, with devices called steam engines as a medium, and a longing for science and the future as represented by aircraft. In addition, the anticipation and disappointment, ideals and regrets of humans who see these two from the perspective of the present are projected on the works. This shares the characteristic of the steam punk genre, which seeks to return to the past rather than to face current problems. A subgenre of science fiction (henceforth "sci-fi"), steam punk reflects fundamental skepticism of science and technology and mechanized civilization, which have developed beyond human control. In addition, as works that clearly display such characteristics, director Miyazaki's and < $Nausica{\ddot{a}}$ of the Valley of Wind> can be examined. With spectacles of steam engines and aircraft, these two works enticingly visualize narratives about nature and humans and about the environment and destruction. Such attractiveness on the part of the master director's works has led to support from fans worldwide. However, often in the backgrounds of director Miyazaki's works, which have depicted ideal worlds of nature, environment, and community as highly concentrated fantasies, lie presuppositions of war and the end of the world. As works that are especially prominent in such characteristics, there are and . These two works betray the expectations of the audience by establishing the actual wartime as the temporal background and proceeding toward narratives of reality. Trapped in the ontological identity of the director himself, the war depicted by him projects a subjective and romantic attitude. Such a problem stems also from the ambiguity of the hybrid space and time, which is basic to the steam punk genre. This is because the basic characteristic of steam punk is to transplant past time, which humans were able to control, in the future from a perspective of optimism and longing via steam engines rather than to face current problems. In this respect, steam punk animation films in themselves can be seen as having significance and limitations at the same time.