• The Research Journal of the Costume Culture
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• v.23 no.6
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• pp.1038-1050
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• 2015

This study is a theoretical research to investigate a methodological framework for analyzing the representation of women in fashion photography. For this study, this article attempts to develop a conceptual framework of the visual representation system through Lacan's gaze theory, and analyze the representational aspects of women configured by gendered characteristics in the visual representation system. Structuralizing the visual representation system based on that theory, the gaze, the image/screen, and the subject of representation in the Lacan's triangle diagram are replaced by the camera as the signifier of gaze, the representational image, and the seeing subject respectively. In the visual representation system, the camera creates a male-oriented visual field and structures a relationship of gendered power between male gaze as the seeing subject and female eye as an object to be seen. Looking into the representational aspects of women in this visual representation system structuralized by male gaze, women are represented in a way that reflects male desire through masquerade to comply with the patriarchal gaze, or differences that emphasizes the uniqueness and autonomy of women released from a patriarchal discourse. This study would be significant in that it provides theoretical basis for an analytic approach to the representation of women in fashion photography which we accept as a fixed one through the ideology of naturalization.

• Journal of Digital Convergence
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• v.18 no.10
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• pp.409-418
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• 2020

The study focused on Jean-Luc Godard's about the relationship between visual effects and psychoanalysis of the film. Godar set up an interpreter for communication between the scenario adaptors and producers, producers and directors, producers and interpreters, and assistants in However, the role of an interpreter is based on the premise that although there is an interpreter, accurate communication is impossible. Such a break in communication is used as a strategy to clearly clarify Godar's own direction while revealing the difficulties of filmmaking as the gap between the two sides in filmmaking becomes clear. Based on Freud's theory of psychoanalysis, the meaning of the study is to analyze Jean-Luc Godard's relationship with filmmakers, directors, writers, actors and how the director visually reproduces the conflict among the invisible participants in the film.

• Journal of Digital Convergence
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• v.14 no.4
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• pp.425-435
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• 2016

This paper has the aim to track down the viewers' cognitive emotion of how they are interacting with the story of Shakespeare in Love. Human minds have cognitive and emotional flows while plots, characters, and action-ideas are intertwined in the story of the film. This paper especially focused on the analysis of characters' networks with four statistical data pictures in order to schematize the storytelling architecture on how and why Shakespeare has strongly motivated to write a great star-crossed love play, Romeo and Juliet in his very young age. This paper examines that Shakespeare's subject of desire is to accomplish both a true love and a sincere play which can make the nature of love true. The desire of subject is always slipped aside into scattering with "object a." In the film of Shakespeare in Love, the "object a" is a writing process and has a product of Romeo and Juliet as well.

• Journal of the Korean association of regional geographers
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• v.14 no.5
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• pp.604-626
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• 2008

In recent years, the formation of identity has drawn much attention in urban development strategy. This has a dual implication for normative rehabilitation of lost traditional identity for ontological security of human being, and for strategic improvement of newly urban images in order to gain superiority in urban competitions. This duality is reflected on the debate between postmodern theorists, such as Lacan, Foucault and Deleuze, criticizing modem identity, and Arendt and Habermas, suggesting alternative formation of identity through public space. This paper considers some implications of identity for urban development policy, while criticizing urban development strategies which justify themselves with enhancing urban identity but which distort or erode it actually. In particular, this paper argues that the perspective of postmodern theorists is suitable for criticizing pseudo-identity in reality, while critical theoriests' suggestion of formation of authentic identity through and in public space can be understood as an ethical alternative to urban development policy.

• The Journal of the Korea Contents Association
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• v.19 no.1
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• pp.413-420
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• 2019

The purpose of this study is to analyze the main character characters of the movie [THE HANDMAIDEN]. All four characters in the movie [THE HANDMAIDEN] have in common is that they all have seen 'the Existence' and have the factors behind the villainous figure. Kozuki and Hideko had clear and typical symptoms, have been diagnosed as a structural layer of perversion and neurosis by Lacan's psychoanalysis Methodology. On the other hand, since Sook-hee and Ko-pandol have the nature of being a criminal, they have long been faced up to the existence. It was difficult to approach to the structural layer of psychoanlysis Methodology. Therefore, the PCL-R diagnosis used to analyze the personality type of Sook-hee and Ko-pandol and add structural analysis again. As a result, Kouzuki had an Sadist, Hideko had an obsessive compulsive and Sook-hee had an anti-social lifestyle, but she was in a normal emotional category. It was noted that the Ko-pandol was a potential Sadist and part of a sociopath.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.121-129
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• 2019

This study aims to focus on the text analysis, production methods of text, and reproduction of production methods, based on a film (2010) taken by mobile devices. As a digital film in which the objects and images have no characteristics of index, this work has the post-cinematic attributes in the aspect of consumers' recipience. This thesis paid attention to the interactions between essential change and production/consumption throughout the whole film culture in the receptive aspect. Just as the main character is a mediator-shaman in the film, this film works as a mediating position of cinematic possibility. In this film, there are different kinds of mediation such as mediation of shaman inside the text, mediation of film in the relationship between text and consumers, and consumers' instrumental desire for others'tool outside the text. Outside the text, this relevant film stimulates the imitation desire of consumer subjects as others. In other words, this is connected to the desire of consumers who aim to create a digital film through mobile devices as an author. This is connected to Simondon's thinking in which such technical objects not only generate new relationships, but also become a revolutionary seed that newly collectivizes human society.

• Journal of English Language & Literature
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• v.56 no.2
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• pp.187-217
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• 2010

By reading the main character, Rene Gallimard, in M. Butterfly as a spatial metaphor of America, this article examines how homogeneous American national identity of heterosexuality and white masculinity has been reinforced since the cold war and has constituted a crisis of hegemony with the decline of imperialism and how its pathological symptom is shown through the melancholic suicide of Gallimard. This article also argues how the feminine attributes implied in race, gender and sexuality in M. Butterfly are designated and allegorized as an impure, contaminated and ahistorical marker of national integrity in pthe social and material status of the heterosexual American white male. To develop my argument, I read M. Butterfly from a psychoanalytic point of view. Therefore I depend on Freud, Lacan, and Bhabha's psychoanalysis as the theoretical basis. In this paper, I also argue that the homogenized and fixed national identity is splitted and collapsed from within as shown in the Gallimard's melancholy and in the process of splitting the "Third Space" of hybrid subjects for the marginal and the emergent like Song Liling, a homosexual Asian man, can be built "from a space in-between." Therefore Hwang calls into questions conventions of fixed, essentialist identities through the shifting gender identities between Song and Gallimard in M. Butterfly and how identities in the plural are constructed variously in throughly historicized, politicized situations, and these constructions can be complicated by relations of power.

• Journal of Korean Philosophical Society
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• v.148
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• pp.269-289
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• 2018

This article is designed to help ensure that "Laotzu's Tao and Saussure's Linguisticse's Linguistics" can meet properly. To carry out this project, I asked how to understand Laotzu's 'not the eternal Name(非常名)'. Comparing Kongzi's 'the Rectification of name(正命)' with Laotzu's 'not the eternal Name', The meaning of the two concepts becomes clear. Kongzi's 'the Rectification of name' is political philosophy to restore etiquette through language order. In comparison, Laotzu's 'not the eternal Name' refers to Randomness[arbitraire] of the symbol. It shows that the order of languages can be dismantled, and that the structure, norms, and etiquette of society, which are established by language order, can be dismantled. Laotzu's 'not the eternal Name' is a logic that defies language as an institution, as a symbolism, and as a logic of disintegration. To illustrate this point, Searsure's Linguistics was brought in for discussion. In Saussure's Linguistics, the arbitrary nature of the symbol is the same as the Lotzu's 'Not the eternal Name'. Three arguments were used to elucidate the logic of the resistance and the logic of Deconstruct of the Language structure. First, I explained that the discussion of 'Name' was not just about 'the name of an object' but about the system, laws and norms of a society. Second, I explained the argument that language order is a social institution and a social structure by taking the words Saussure and Lacon. Third, I explained that 'not the eternal Name' is an important term that reveals the arbitrary and arbitrary relationship between the signifiant and the signifie. These arguments explain that Laotzu's 'not the eternal Name' is the logic of dismantling the language as a system and as the symbolic.

• Journal of Digital Convergence
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• v.10 no.10
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• pp.517-522
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• 2012

The work to be analyzed in this study is an animation showed in 2006, which was made by Director Satoshi Kon on the basis of a Japanese SF novel written by Yasutaka Tsutsui. The key point is to create a new meaning through showing imaginative power of audiences from the world flying across the borderland between reality and fiction. It regarded suitable for analysis of the borderland appearing in the unconscious world of dream and reality through "abjection". Therefore, this study intends to analogize the conclusion through analysis of the animation focusing on the theory of Julia Kristeva. Abject appears as the phenomenon which cannot be disappeared and the one threatening to disunite which the subject had already organized in the symbolic. The self-feeling of characters is not stable and it keeps watch constantly on the one which may neutralize his caution. They are looking for the power to strengthen the life granting to the subjecthood by chora as the resisting power against the symbolic order. That is, the dreaming space where revengeful power of primitive libido is working and shows mother as Paprika as well as enters through DC mini, works as the semiotic chora as "maternal body". The healing of mental lack in the symbolic caused from here is connected on the borderland to divide between meaning and meaningless as well as normality and abnormality in the semiotic and this is the maternal power of the semiotic. Therefore, "abjection", "abject" and "chora" as well as care and healing of the other self appearing in the subjectivization process in the can be regarded as the one caused from the love towards the subject to be analyzed.

• Journal of Korean Philosophical Society
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• v.126
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• pp.191-212
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• 2013

Cet article consiste ${\grave{a}}$ critiquer $l'{\acute{e}}conomie$ libidinale, $subordonn{\acute{e}}e$ ${\grave{a}}$ l'ordre phallique qui coupe les flux libidinaux. La notion lacanienne du $d{\acute{e}}sir$ qui est $focalis{\acute{e}}e$ sur le manque, ne pourrait prendre en compte la dimension $cr{\acute{e}}ative$ et productive du $d{\acute{e}}sir$ qui est $li{\acute{e}}e$ ${\grave{a}}$ la perspective deleuzienne et guattarienne du $d{\acute{e}}sir$. La $possibilit{\acute{e}}$ de la $d{\acute{e}}rive$ et de la $d{\acute{e}}stratification$ des flux libidinaux pourrait se mener vers la notion du "homo surplus", laquelle est la notion $in{\acute{e}}dite$ que j'ai $cr{\acute{e}}e$. Le surplus est ce qui $d{\acute{e}}passe$ la logique phallogocentrique par son $immensurabilit{\acute{e}}$ et sa surabondance. Dans cette perspective, la critique virulente de la notion du plaisir $cantonn{\acute{e}}$ dans la partie $g{\acute{e}}nitale$, $s^{\prime}op{\grave{e}}re$ avec l'analyse de la jouissance qui est non phallique; Cette jouissance non phallique est $li{\acute{e}}e$ ${\grave{a}}$ l'agencement non $lin{\acute{e}}aire$ et multiple des pratiques sexuelles $in{\acute{e}}dites$ et radicales.