• Digital Contents
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• no.9 s.136
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• pp.48-53
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• 2004

영화가‘인간의 창조력이 일군 대중 예술 장르’라는 금언은 이제 옛말이 됐다. 21세기에 영화는 점점 첨단 테크놀로지의 경연장이돼 가고 있다. 오늘날 영화에 쓰이는 CG(컴퓨터그래픽)는 순수 기술력으로 도달할 수 있는 스펙터클의 지평을 무한히 확장하고 있다. 영화 이미지가 주는 시각적 쾌락은 기발한 인간 상상력의 실현, 거대한 규모의 스펙터클, 표현의 한계에 도전하는 실험들로 채워진다. 디지털 테크놀로지의 발전은 영화제작자들에게 더이상 자기 검열로 상상력을 제한하는 일 따위는 않아도 된다는 자신감을 심어줬다.

• 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.

• The Korean Publising Journal, Monthly
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• s.175
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• pp.23-23
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• 1995

최근의 영화관련서들은 더욱 확장된 미디어 측면에서의 관심, 문화이론 연구의 지적 호기심, 영화 자체의 깊이있는 계보학에 관한 탐구 등의 세 갈래로 분류해 볼 수 있다. 앞으로 영화문화의 방향성 있는 장기기획이 더욱 요구된다.

• The Journal of the Korea Contents Association
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• v.5 no.5
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• pp.92-99
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• 2005

It is not easy to understand that the drama with various aspects of political-economics and psychology in a certain popular cultural contents. People, however, does want to reconstruct the meaning of the real world and the hyper - reality, it means cross of oldness and newness, through the films. We try to analyze in religious/philosophical aspect with hybrid narrative, characters and condensed meaning in series. This try shows a good example way of understanding series which on the border line of newness and oldness.

• 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 Korea Entertainment Industry Association
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• v.15 no.4
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• pp.31-43
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• 2021

The talk of today's era is innovation and convergence. Convergence can be seen as innovation because convergence is born through innovation and innovation is made through convergence. Crossover and collaboration (collectively referred to as "crossover") which are used as a concept of convergence in popular culture means the combination and integration of different genres or fields, and has recently been used in various fields such as movies and music. The use of crossover helps to break boundaries with other fields and create new works through free and diverse attempts. Thus, in this study, the convergence of popular culture, or crossover, is analyzed in conjunction with the Korean horror genre. Currently, Korean horror movies were popular from the 1990s to the early 2000s, but now only a few are coming out due to a series of poor box office performances. However, according to this study, crossover attempts have already begun in Korean horror films, and traces of crossover have been found in several successful films. In this study, we will further apply a collaboration of characters such as "Avengers" to present a new direction for Korean horror movies.

• Cross-Cultural Studies
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• v.44
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• pp.191-209
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• 2016

This article aims to analyze the perception of Korean-Chinese in South Korea to understand the mentality of South Korean people in a multicultural society through exploring Korean films in which Korean-Chinese characters have been represented since 2000. For this purpose, Korean-Chinese characters represented in Korean Films are divided into male and female. It could be said that South Koreans are biased against Korean-Chinese, who are considered 'others' under the economic and cultural hierarchy. Female characters are presented as 'pure' and 'frail' in the migration narrative while male characters are 'indecent' and 'brutal' individuals in crime narrative films. Meanwhile, Haemoo [Sea fog] is a story about economically weak Koreans and Korean-Chinese who were in economical conflict with each other, but were victims of the economical restructuring systems under neo-liberalism.

• Journal of Digital Convergence
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• v.15 no.2
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• pp.301-307
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• 2017

Once, the faster the digital technology developed, the more provocative obscure commercial film has spread like a trend. Researching the aspect of the successful films, about 10 million audience in 2016, we can find the similarities that only social phenomenon, stands itself without real-existence, which makes public sentiment. I will list up all the problems that I mention above with audience's review and analyze the famous film "the wailing" with big social attention, having 6.8 million audience. I will seek the better way to developthis movie, in terms of artistic dignity and depth as an public-art. With great depth, the realistic application of cultural inheritance, holding mankind common, such as culture, philosophy, religion, history, would be an essential proposition for obtaining cultural emotional empathy from the people in the society. Based on this, the theme and massage from a director, should be expressed in order to be a master piece work beyond time and space in the film history.

• Proceedings of the Korea Contents Association Conference
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• 2005.11a
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• pp.29-35
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• 2005

Psychoanalytical film theory promoted by Metz supplied theoritical base in analyzing the effects of mass culture to subject. This theory may be also applied to computer games, so that we would promote studies in depth about game critics and game culture. In this article, first inspected the theories of Freud and Lacan and then examined the psychoanalytical film theory by Metz and Baudry. Computer games analyzed by the frame of artificial regression, first identification and concealment of marks of enunciation. As a result, computer games appeared that deeply effect to the subject similarity cinema.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.13 no.11
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• pp.4975-4983
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• 2012

Commercial and Art movies have different characteristics even when they belong to the same 'movie' category. This study investigated the differential effects of reviewer professionalism and expectation about a movie on the intention to watch the movie. Based on the survey on young potential movie goers, we found that movie types indeed have significant effects. Specifically, in the case of art movie, people had high level of intention to watch when they were exposed to professional reviews. We found that utilitarian expectation mediates between reviewer professionalism and intention to watch for art movie. On the other hand, in the case of commercial movie, people had high level of intention to watch when they were exposed to amateur reviewers. We found that hedonic expectation mediates between reviewer professionalism and intention to watch for art movie. In result, this study contributes to our knowledge to movie industry through showing that reviewer professionalism have different impacts on commercial and art movies.