• Journal of Digital Convergence
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• v.14 no.2
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• pp.437-447
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• 2016

This study is intended to analyze the conflict between the mother and the daughter revealed in the film, 'Daughter' and tries to suggest the therapeutic counseling techniques in the integrated perspective. It used a convergence in-depth psychological method. After deriving the unconscious conflicts of main characters through several film reviews, it was found that at the unconscious level true self and the false self, the ego ideal and the super ego, the individuation and the dependency are in mutual struggle. For Therapeutic counselling, the most important thing in the initial stage of the counselling is the experience of authenticity. The counsellor himself or herself should establish the right life values and stimulate the ego-ideal and strengthen the drive of true self. Also the counsellor should be aware of the dangers of the religious behavior as the transitional phenomenon. In the final stage, the counselor expects the client to continue to make efforts to change with the hope for the well-being.

• The Journal of the Korea Contents Association
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• v.12 no.9
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• pp.126-135
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• 2012

This study is the subsequent full-scale research of a TV drama writer who has been out of scholarly pursuits as it explores Su-Hyeon Kim's underlying consciousness with focusing on her heroines, the and . The author Su-Hyeon Kim clearly distinguishes a TV melodrama from a TV home-drama by her own self-control, which is a rare case in TV drama genres, therefore, her consciousness lights up at her melodrama. This study applies Lacanian theory to the author's melodramas for examining the author's under-lying thought. For Lacan the subject is an 'alienated', 'privative', 'fractured' 'being' as an imperfect language, the symbolic order, forms the subject through its signification. The subject desires the other's desire, and wants to become an object for the other's desire. The desire constantly demands an integral world, a perfect love, the wholly harmonious imaginary order. And it lasts up as it refuses the symbolic order's imperfection while it works its unconscious fantasy. Lacan states that only the 'traversing the fantasy', 'separation' would give birth to the real, liberated subject. Despite a 20-years of rift within two works, the and have an identical conflict core, that is a subject's constitutive, fundamental privation and desire of a human being. Su-Hyeon Kim's underlying consciousness complies with her continued theses of an inquiry into the subject's real liberation and freedom when desire of the rings produces the subject's alienation, privation, and the pursuit of a impossible perfect love.

• Journal of Digital Convergence
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• v.14 no.9
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• pp.485-493
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• 2016

This study analyzes the collision occurring in the daily life of the United States where diverse ethnicities live side by side, as portrayed in the film 'crash'. The analysis is followed by a counseling method necessary for a diverse society. To analyse the essence of conflict in the film, a convergence psychological analysis was conducted based on desire theory. The result was that the desire to survive and innovate always collided with frustration. This is because of the obstacles in real life that suppresses desire. The process of frustrated desires and their distortion was structurized. In the conclusion, a counseling method and theory with 'a recovery model that promotes change' was presented for problematic personalities that are entrenched widely in the United States about pain by conflict.

• Science of Emotion and Sensibility
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• v.8 no.2
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• pp.137-153
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• 2005

Phantasy is the psychic reality in which drive, sadism and anxiety are represented and constructed. It is one of important metapsychological concepts of the psychoanalysis which explains the formations of symptoms, internal psychic structure, and the mutual relationship between internal subjective world of man and external world. Through the understanding of phantasy we can approach the man's unconsciousness and fathom the structure of the subject itself. Especially S. Freud and M. Klein's psychoanalysis give us the deep insight into the phantasy, on the basis of which we can investigate the cause and structure of the pathological phenomena of the man.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.325-330
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• 2021

This study set out to investigate the forms, attributes, and escape methods of post-subjects projected on the investigator's works in connection with rhizomatic thinking proposed as a way of social transformation by Deleuze and Guattari and examine their social connotations. Post-subjects projected on the investigator's works are not completed wholes of some sort, but like materials whose constant premise is change and creation. In the investigator's works, post-subjects have conscious and unconscious desire. It is the desire of creation with positive attributes including Deleuze's and Guattari's pursuit of changes in a contradicting society. When desire is deployed in post-subjects, they will carry out an escape. This way of escape is rhizomatic proposed by Deleuze and Guattari. It deconstructs contradicting things and repeats connection, contact, and severance with the outside world, building a new order. Rhizomatic post-subjects appearing in the investigator's works depict the escape process and method in abstract ways through the variable installation of objets combined with a color field of repeating brushes. In this work, the goal of post-subjects is to make a safe landing in a space where beings are recognized for their values and free and creative lives. These post-subjects are nomads creating a new landscape continuously, wandering around vast plains, and also artists and literary figures resisting a contradicting society. That is, they are connected to the concept of a war machine proposed by Deleuze and Guattari as a concept of social transformation and to the concept of Nietzsche's Agon to devise and create new values and politics based on street passion. They seek after a space where they can co-exist with otherness recognized rather than the complete deconstruction of the old order.

• Journal of Korean Philosophical Society
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• v.129
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• pp.53-82
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• 2014

This paper analyzes the concept of Lacanian subject and the structural definition of sexual difference between man and woman, and criticizes some problems of those definitions. It seems to me, to do so, that it is important to know precisely the core terms of psychoanalysis quoted by Lacan. We should analyze the basic meanings and the relation of the Imaginary, Symbolic and the Real, of ideal ego and ego ideal, of phallus and signifier, of desire and the other, of consciousness and unconsciousness, of alienation and separation, etc. I'm going to discuss the relation between the Imaginary and the ideal ego in chapter 2, and then, deal with the relation between the Symbolic and the ego ideal in chapter 3. I'll explain both similarity and difference between the ideal ego and ego ideal through those discussions. In chapter 4, I'm planning to explain the relation among the other, desire and the subject of unconsciousness. In chapter 5, I'll analyze the meaning of phallus and signifier. I'll criticize the Lacanian structural definition of sexual difference on the basis of the work made in former chapters. These discussions will lead to my final conclusion that the concept of Lacanian subject and the structural definition of sexual difference are only dependent on reductionism regarding everything as symbolic, which has in itself a lot of contradiction. In order that All discussions about sexual difference have at least a objective meaning, they have to rely on anatomical differences between man and woman.

• Korean Educational Research Journal
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• v.43 no.1
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• pp.183-213
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• 2022

The purpose of this study is to examine the implications of Deleuze and Guattari's Machinism and Pedagogy of Assemblages. A slow, empirical process offered by Deleuze and Guattari is possible only if they experience a repetition of the duration in time. The identity of this world, a combination of potential and reality, is expressed as a machine. The identity of the 'machine' is the generation. The identity of the information society that exists everywhere in the cloud and unconsciously collects big data is also the information society. The information society is at risk of leaning toward a society in which individual desires are managed prior to the manifestation of a self-reliance a machine consisting of unmarked and mechanical arrangements. Social science based on the theory of layout shares the characteristics of repetition patterns, coexistence of linguistic and materiality, attention to boundary and negation to total whole. The pedagogy of layout, in which the collective pattern is structurally deformed in time, conforms to the original problem consciousness of Deleuze and Guattari, slow and empirical education. In addition, the work of examining the materiality and expression of the education-machine will contribute to the establishment of a new learning theory, an educational theory in the era of trans-human.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.135-158
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• 2019

The purpose of this paper is to elucidate the characteristics that make Guillermo del Toro's film Pan's Labyrinth (2006) a fantasy film, and the meaning and function of the labyrinth motifs closely related to it. Tzvetan Todorov defined the 'fantastic' as the hesitation between natural and supernatural interpretations in the face of supernatural events that invade reality. In Pan's Labyrinth, the fantastic continues to be seen, because the film does not allow the hesitation to disappear; thus, the fantastic does not enter the 'uncanny' genre or 'marvelous' genre, and because it keeps its fantastic state. In this case, the labyrinth symbolizes art as a passage into the fantastic world and a space that represents it. Rosemary Jackson saw the fantasy as a "literature of desire to compensate for a lack resulting from cultural constraints" and thus repeatedly dealing with unconscious materials. Del Toro's film shows the character of the fantastic as an expression of desire by allowing 'family romance' to take place in the fantastic world. In this case, the labyrinth symbolizes the mind as a place of desire. Kathryn Hume defined fantasy as a reaction to reality, like mimesis, and 'departure from consensus reality.' The film, operating in a 'vision' genre, satisfies its definition by allowing the fantastic world to illuminate the reality world through 'contrastive' technique, and brings out the fantastic it has. In this case, the labyrinth symbolizes the world as a mirror of the world of reality. Thus, Pan's Labyrinth is representative of fantastic film in that the fantastic functions very effectively, and the labyrinth appearing in this film can be evaluated as a motif that is full of meaning by symbolizing all three elements of art, world and mind. The significance of this paper is to shed light on how a motif works in a particular genre through the above considerations.

• Journal of the Korea Convergence Society
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• v.8 no.4
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• pp.287-295
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• 2017

The purpose of this study is to find the characteristics of the blindness of Sim Bongsa, Sim Cheong's father, in Sim Cheong Jeon (the story of Sim Cheong). This is one of the representative works about the filial piety in Korea. This article regards the story as the process of restoring the sight of the father and tries to examine the cause and the timing of his blindness to make its diagnosis in the psychoanalytic perspective. The predominant characteristics of Sim Bongsa were very dependent and irresponsible. He was so unqualified to be a head of a family. He sought to close his eyes toward reality in his unconsciousness. His blindness can be diagnosed as a case of psychogenic hysteria, conversion disorder. The fact that he suddenly could see when the empress turned out to be his own daughter, Cheong, can be a meaningful proof for this diagnosis. It means that his symptom of blindness disappeared when he realized a new reality which ensures a comfortable and easy-going life for himself.

• Journal of Digital Convergence
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• v.14 no.12
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• pp.433-439
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• 2016

For the past hundred years, since many films have only been focusing on expressing suppressed desire and obsession, there have been few films in which unconsciousness desire is expressed and pursuing dream comes true as Freud says. Well known for a convoluted and dreamy structure and plot, David Lynch successfully represents a real dream sequence with his own way of image presentation form in his representative film "Mulholland Drive (2001)". In this study, I attempt to analyze how he expresses the realistic dream sequence with a strange film structure based on Freud's psychoanalysis. In general, dream world is known as completely visual matter, but the feeling of things is more important for making a realistic dream and it is the main reason that we can have more realistic experiences in a dream.