• 보건세계
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• v.61 no.4
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• pp.20-29
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• 2013

우리나라 결핵퇴치 운동의 선구자이자 크리스마스 씰을 국내 최초로 발행한 셔우드 홀 박사의 외손자 클리포드 킹(Clifford King)씨가 지난 9월 24일 대한결핵협회를 방문했다. 셔우드 홀과 마리안 홀의 4자녀 중 쌍둥이로 태어난 막내딸 필리스 마리안의 외아들로, 셔우드 홀에게는 유일한 외손자이다. 이번 문은 CBS 방송국이 우리나라 재건에 일익을 담당했던 외국인 선교사 후손의 이야기를 다룬 "양화진 특집 다큐멘터리" 촬영의 일환으로 이루어졌다.

• The Korean Journal of Archival Studies
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• no.27
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• pp.169-208
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• 2011

In this thesis, I pursued how the concept of documentary photography in Korea was formed, and how Koreans perceive the current mix of some concepts and how they are tracked that. Korean photography society, directly or indirectly, accepted the concept and format of documentary photography of the United States in which information and discussion of the history and concept by examining the process of being transferred to Korea are examined. Giroksajin(記錄寫眞) is a translation word of documentary photography which was a part of documentary movements in the United States of the 1930s, and are all based on that concept. When we order Korean documentary photography and the subject matter must be distinct, attitude toward the things should be based on the exact perceptions of this age awareness, to be able to give enough information, and finally moved forward to move the human emotion must be. When this condition is equipped with the photographers and archivists perspective is revealed clearly the social and historical records that are meaningful. Documentary photography is the subject of the photographers and archivists that want to record the important things, but what you can get in the records and the question of how to use it is also important. Korean documentary photography, not only records the things, just to have a meaningful supplement to get done the exact context of information production and led to the conclusion that the strengthening of documentation strategies.

• (The) Research of the performance art and culture
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• no.43
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• pp.229-261
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• 2021

On the musical stage in 2019, there were many works depicting the Japanese colonial period. This is due to 2019 the timeliness of the March 1st Movement and the centennial of the establishment of the Provisional Government of the Republic of Korea. The way of remembering and commemorating historical facts reflects the power relationship between memory subjects and the time, namely the politics of memory. Until now, stage dramas dealing with the era of Japanese rule have focused on the commemoration of modern national and national defense, including feelings of misfortune and respect for patriots. This study analyzed the metaphor of the memorials emphasized to the audience in the commemorative musicals Shingheung Military School, Ku: Songs of the Goblin, and Watch which were performed in 2019, and looked at how to adjust memories and memorials. The above works highlight the narratives of ordinary people as well as those recorded against the backdrop of the Manchurian Independence Movement and Hongkou Park, expanding the object of the commemoration. Through this, active armed resistance efforts, self-reflection and reflection were highlighted. The case of Shingheung Military School revealed the earnestness of ordinary people who led the independence movement through the movement of central figures. Ku: Songs of the Goblin revises memories by reproducing forgotten objects and apologizing through time slip. Watch has strengthened the spectacles of facilities through documentary techniques such as photography, news reels, and newspaper articles, but it also reveals limitations limited to records. In the 3.1 Movement and the 100th anniversary of the establishment of the Provisional Government of the Republic of Korea, devices that actively reveal that the "people's movement" is connected to the present. To this end, the official records reflected the newly produced values and memories and devoted themselves to the daily lives and emotions of the crowd. In addition, both empirical consideration and calligraphy were utilized to increase reliability. These attempts are meaningful in that they have achieved the achievement of forming contemporary empathy.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.175-209
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• 2020

This paper examines how the cinematic representation of the Japanese military "comfort women" stimulates 'imagination' in the realm of everyday life and in the memory of the masses, creating a common awareness and affect. The history of the Japanese military "comfort women" was hidden for a long time, and it was not until the 1990s that it entered the field of public recognition. Such a transition can be attributed to the external and internal chronopolitics that made possible the testimony of the victims and the discourse of the "comfort women" issue. It shows the peculiar status of the comfort women history as 'politics of time'. In the same vein, the cinematic representations of the Japanese military "comfort women" can be found in similar chronopolitics. The 'comfort women' films have shown the dual time frame of the continuity and discontinuity of the 'silence'. In Korean film history, the chronotope of the reproduction of "comfort women" can be divided into four phases: 1) the fictional representations of "comfort women" before the 1990s 2) documentaries in the late 1990s as the work of testimony and history writing, 3) melodramatic transformation in the feature films in the 2000s, and 4) the diffusion of media and categories. The purpose of this article is to focus on the first phase and the third phase in which the issue of 'comfort women' is represented in the category of popular fiction films. While the "comfort women" representations before 1990 were strictly adhering to the framework of commercial movies and pursued the sexual exploitation of "comfort women" history, the recent films since the 2000s are experimenting with various attempts in the style of popular imagination. Especially, the emergence of 'comfort women' feature films in the 2000s, such as Spirit's Homecoming, I Can Speak, and Herstory, raise various questions as to whether we are "properly" aware of issues and how to remember and present the "cultural memory" of comfort women. Also, focusing on the cinematic representation strategies of the 2000s "comfort women", this article discusses the popular politics of melodrama, the representation of victims and violence, and the feature of 'comfort women' as meta-memory. As a melodramatic imagination and meta-memory for the historical trauma, the "comfort women" drama shows the historical, political, and aesthetic gateways to which the "comfort women" problem must pass. As we have seen in recent fiction films, the issue of "comfort women" goes beyond transnational relations between Korea and Japan; it demands a postcolonial task to dismantle the old colonial structure and explores a transnational project in which women's movements and human rights movements are linked internationally.