• 대학교육
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• s.91
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• pp.53-59
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• 1998

우리의 문화담론은 너무 늦었거나 너무 일렀다. 왜 늦었느냐 하면, 그 담론이 '80년대의 목적 의식적 세력이 존재할 당시에 전개되었다면 그 기반 위에서 '90년대 대중문화의 새 동향을 변별할 수 있었을텐데 하는 아쉬움 때문이다. 왜 빨랐느냐 하면, '90년대의 문화담론은 그 현실적 기반을 내생적으로 확보하지 못한 상태에서 무작정 문화상품에 기우는 경향을 보인다는 점에서 그렇다. 오늘날은 문화담론 자체가 대중문화의 소비를 강권하고 있는 것으로 보인다. 마치 정보화 운동이 정보의 소비를 강권하듯이 말이다. 그러나 문화담론이 도전해야 할 대상은 바로 현실이다.

• The Journal of the Convergence on Culture Technology
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• v.10 no.1
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• pp.319-324
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• 2024

This study attempted to examine the characteristics of discourse on the role of schools and to explore its implications. To this end, major daily newspaper articles during the pandemic, in which discourse on the role of schools increased rapidly, were reviewed. As a result, people made the following assumptions about the role of schools. First, schools are institutions that must provide equal learning. Second, schools are institutions that must provide caring education. These findings have led to renewed essential questions about the role of schools. It is also necessary to further subdivide and discuss the role of the school raised in the discourse. The results of this study implicated that all of these roles have the potential to bring about a structure that makes each teacher lean on passion and sacrifice without distinction between the role of the school and the role of the teacher.

• 한국노년학
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• v.27 no.2
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• pp.299-322
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• 2007

The purpose of this study is to critically review recent discourse on aging appeared in Korean newspapers. For this purpose, 1,725 articles on 'aging' or 'elderly' appeared on three major Korean newspapers during 1997- 2006 are analyzed. It is shown that there is a recent surge of articles portraying the positive images of aging in Korean newspapers emphasizing the importance of productive, successful aging and active life style of the elderly. This trend is a welcomed change from the negative images of elderly as dependent burden of society. However, it seems that over emphasis on positive aging and 'New Elderly' might have created another stereotype about the elderly and unintentionally marginalize the certain group of the elderly. By focusing on individual responsibility, it also overlooked the constraints imposed by social structure on disadvantaged elderly group, such as women, elderly in low socio-economic strata. Theoretical and policy implications of this trends are discussed.

• The Journal of the Convergence on Culture Technology
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• v.9 no.1
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• pp.799-805
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• 2023

During the pandemic period, when non-face-to-face education became commonplace, the discourse on digital education increased rapidly. And this is reflected in education policy. This is because most policies are influenced by public discourse. Therefore, this study analyzed influential newspaper articles to analyze public discourse on digital education. The results are as follows. First, in 2020, when COVID-19 peaked, the discourse on digital education surged, which originated from the need for efficient management of learning and students in non-face-to-face education situations. Second, the discourse discussed the problem of digital competency mainly about the problem of acquiring new skills and dealt with it most importantly. Third, the discourse of digital education was dominated by discourse from the current perspective. However, it is necessary to consider the perspective of what capabilities are needed for a future society. This is just because acquiring new technologies or cultivating functions cannot be seen as the whole of digital literacy. Therefore, it is necessary to revitalize the discussion on what digital competencies are needed in the future society and reflect them in education policies.

• Korean journal of communication and information
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• v.77
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• pp.137-163
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• 2016

In the early 1900, photography, magic lantern and cinema were simultaneously introduced and experienced until the mid-1910s as mysterious and magical symbol of modern science and technology. The technology of vision, cinema in particular demonstrated its commercially expandable potentials through serial films in the mid-1910s, silent cinema in the 1920s and talkies in 1930s. I argue that a metaphor 'like a movie' which was would be spoken out by peoples as a cliche ever since the late 1910s whenever they encountered something uncanny, mysterious, and looking wholly new phenomena informs how cinematic technology worked in colonial society at the turning point to the early 20th century. Mass in colonial society accepted cinema and other visual technologies not only as an advanced science of the times but as texts of modernity that is the reason why cinema had so quickly taken cultural hegemony over the colony. Until the mid-1920s, discourse on cinema focused not on cinema itself, rather more on the theatre matters such as hygiene, facilities for public use, disturbance, quarrels and fights, theft, and etc. Since the mid-1920s and especially in wartime 1930s, discourses about negative influences and effects of cinema on behavior, mind and spirit of masses, bodily health, morality and crime were articulated and delivered by Japanese authorities and agencies like as police, newspapers and magazines, and collaborate Korean intellectuals. Theories and research reports stemming from disciplines of psychology, sociology, and mass-psychology that emphasized vulnerability and susceptibility of the crowd and mass consumers who would be exposed to visual images, spectacles and strong toxic stimulus in everyday lives. Those negative discourse on influences and effects of cinema was intimately associated with fear of the crowd and mass as well as new technology which does not allow clear understanding about how it works in future. The fact that cinema as a technology of vision could be used as an apparatus of ideology and propaganda stirred up doubts and pessimistic perspectives on cinema influence. Discourse on visual technology cinema constructed under colonial governance is doomed to be technology of mass control for empire's own sake.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.143-180
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• 2019

This article aims to examine the manner in which the 'Byeongmat' discourse was constructed, and the mechanism of the 'Byeongmat' discourse. I claim that the constructed discourse excludes disabled persons and women. When the 'Byeongmat' first appeared in the mainstream, it was understood as being presented only by webtoons. Furthermore 'Byeongmat' and webtoons were understood as almost synonymous. In this sense, it is no exaggeration to say that the way in which the 'Byeongmat' discourse was constructed is the way in which 'Byeongmat webtoons' were interpreted. In this article, to find out how the 'Byeongmat' discourse was constructed, I examine two things. First, the reception of media of 'Byeongmat'. 'Byeongmat' was at first understood as 'kitsch' by the media, but soon after generational meaning was added. Second, the interpretation of 'Byeongmat' in academia. In academia, the 'Byeongmat' discourse is advanced as a refined generationalism. Regardless of the 'Byeongmat webtoon' itself, 'Byeongmat webtoon' is interpreted as a text which is destructing narrative and filled with parodies. Furthermore this characteristic of the 'Byeongmat webtoon' is interpreted as a resistance culture of the younger generation. However, this interpretation serves as a mechanism which excludes the disabled and women. Currently, Korean society faces the popularization of the 'Byeongmat' code, the decline of the 'Byeongmat webtoons' and the crack of the younger generation discourse. The current situation allows the 'Byeongmat' discourse to be criticized without losing its social context while securing a distance of critcism. I expect that this article can contribute to further diversifying interpretations of 'Byeongmat' and 'Byeongmat webtoons', and accelerating the crack on the younger generation discourse.

• Cartoon and Animation Studies
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• s.42
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• pp.125-150
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• 2016

In the 2000s, Korean cinema maintained the industrial growth on the strength of 10 million audiences and the successful Korean blockbuster. A variety of film materials such as history, politics, social issues, and the division between North and South Korea ideology were addressed in the movies, and one of the movies based on a true story was popular. Accordingly, external size of the film industry has been gradually expanding. Korean public movies have a firm position in the film market, and a diversity of discussion is made as the movies spontaneously get attention. Also, the influence of social media and media which recognized far-reaching powers of public films causes a political and social change, but it also provokes ideology controversy. Objectivity of this study is first to discuss factors and initiating causes that Korean movies have firmly settled as public movies since late 1990s. Secondly, this study considers relation among media, social media. and Korean public film that aroused more arguments on politics, society, and history in 2000s. The powerful influence of films on society not only leads political change but also affects awareness change of audience and the role of social media.

• Cartoon and Animation Studies
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• s.34
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• pp.237-262
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• 2014

Recent Korean popular films and television dramas represent journalist as the character who colludes with corrupt power to engage in scandals or completes one's goals by good or bad means. It matters that the negative discourse of journalists fosters audience's distrust on journalism. Representation of journalists in popular culture is related to the reliability of journalism. In relation, it is noticeable that popular media represent female journalists. This study examines how recent popular films deal with female journalists through the case of (2011) and (2012) to find improvement of discourse on journalists. In result, three female characters in these films represent positively 'reformative leadership' (Chief Cho in ), 'appropriation of information technology'(Seong Hyo Kwan in ), and 'emotional response' (Jang Eun Seo in ). Compared to representation of journalists through male, the positive representation of female journalists constributes to positive discourse on role and function of journalism. However, it may be considered that these positive representations are merely a part of whole journalists.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.349-392
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• 2019

In the 1960s of Korea, the normalization of diplomatic relations between Korea and Japan led to a sense of a vigorous anxiety and fear that "Japan will once again come to the Korean peninsula". As a reaction to this, the discourse on the criticism of 'Japanese Style' strongly emerged. If the prior discourse of criticism was to express the national antipathy toward the colonial remnants that had not yet been disposed of, the critical discourse of the 1960s was the wariness of the newly created 'Japanese Style' in popular culture, and to grasp it as a symptomatic phenomenon that 'evil-minded Japan' was revealed. Thus, this new logic of criticism of the 'Japanese Style' had a qualitative difference from the existing ones. It was accompanied by a willingness to inspect and censor the 'masses' that grew up as consumers of transnational 'mass culture' that flowed and chained in the geopolitical order under the Cold War system. Therefore, the topology of 'popular things=Japanese things=consuming things' reveals the paradox of moral demands that existed within Korean society in the 1960s. This was to solidify the divisive circulation structure that caused them to avoid direct contact with the other called 'Japan', but at the same time, get as close to it as ever. It is a repetitive obsession that pushes the other to another side through the moral segregation that strictly draws a line of demarcation between oneself and the other, but on the other hand is attracted to the object and pulls it back to its side. This paper intends to listen to the different voices that have arisen in the repetitive obsession to understand the significance of the dissonance that has been repeated in the contemporary era. This will be an examination of the paradoxical object of Japan that has been repeatedly asked to build the internal control principle of Korean society, or to hide the oppressive and violent side of the power, and that can neither be accepted nor destroyed completely as part of oneself.

• The Korean Publising Journal, Monthly
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• s.219
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• pp.12-13
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• 1997

'아방가르드'를 세기말에 다시 살펴보는 것은 20세기 문화의 진원지였던 아방가르드가 아직도 '끝나지 않은' 미완의 운동으로 다시 떠오르기 때문이다. 예술과 대중의 관계 등 아방가르드 담론의 핵심은 예술이 사활의 기로에 처한 듯한 오늘날 더욱 외면할 수 없는 문제임이 분명하다.