• Korean Journal of Heritage: History & Science
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• v.42 no.3
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• pp.88-104
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• 2009

Changes in a society and visual media has a tight relationship. Photography represented the last 20th century in the visual media; while the 21st century we live in is represented by moving image(video). The change of visual media also brought changes to the archaeological recordings. As information is gathered from the field work in archaeology, it seems that use of video recording, a reliable way of collecting and recording data, will increase. The process of archaeological excavations can be considered as a contents itself. Also, video recording has many advantages when recording environmental surrounding of the sites and artifacts, for the reservation of the scenery, and as recorded heritage of the humankind. Video recording can be a tool of conversion to public archaeology to devote to its social and academic roles. Considering all of the above, studying ways to record and preserve visual materials is essential in the field of archaeology and we should be prepared for it. We strongly propose reinstatement of the visual archaeology, which should be studied in archaeological perspective. The direction of the study of visual archaeology can be summarized into two. First is the study on the video recording during field work and the archive of video recordings. Second is the study on the media as the tool of communication. More detailed and organized research should be considered in depth in the archaeological theory and methods.

• Journal of Korea Game Society
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• v.15 no.6
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• pp.77-88
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• 2015

This paper made a comparative study on domestic and international game archives that preserve and study the history of games. Based on that, it suggests the structure to classify and build a database to establish a history museum of games. The objective to gather and preserve history of games is mainly in order to build a baseline for ludology studies, but not solely for that reason. This study proposes the series of procedures of gathering, preserving, classifying, displaying and referencing digital games according to the academic field of Media Archaeology.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.361-395
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• 2019

This paper take a media archaeological approach to cinema transformed into a narrative medium during its transitional period, 1903-1915. To accomplish this, I will explore the question of as which narrative medium cinema was imagined and also how it was institutionalized as a narrative medium with authorship. I will explain that the imaginary and real ideas and changes on cinema resonated with each other on the foundation of its technological aspects such as indexicality, 23 frames/sec. and montage. It was during the transitional period that cinema was transformed from a medium representing spectacle to a medium of narration. The establishment of the American film copyright law in 1912 was an institutional, real outcome from the contemporary understanding of cinema as a narrative medium. At the same time, various ideas emerged that led to imagining of cinema as a complete narrative medium, incomparable to any other. From a media archaeological perspective, the imaginary ideas of media resonate with their actual course of development. These imaginary ideas are not just imaginary, but rather reflect the contemporary desire for the medium. This paper looks into the transitional period based on this media archaeological point of view. To this end, this paper will briefly introduce the notion of media archaeology as a media theory and then discuss Eric Kluitenberg's concept of 'an archaeology of imaginary media' and its methodologies. Second, it will explore literary and cinematic imagining of cinema as a powerful medium of storytelling, while discussing the ways in which cinema's technological characteristics played a decisive role in these imaginings. Also to show the techno-deterministic role of cinema in the real world, this paper will explore how its technological characteristics were considered as an important element in the processes through which America's first motion picture copyright was institutionalized in 1912 after two historical copyright cases: one is Edison v. Lubin in 1903 and Kalem v. Harper Brothers in 1909. Ultimately, this paper will lead us to an understanding of the history of cinema as a medium and its developments in more multi-layed way, as communication between the real and imaginary, and give us perspectives toward what cinema is.

• Journal of Korea Game Society
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• v.22 no.1
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• pp.77-86
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• 2022

This article argues that electronic entertainment has continued to this day, contrary to the existing view that it has been absorbed by digital games since the 1990s. From a media archaeological point of view, it tracks in what cultural and technical context the electronic entertainment called "Pump It Up", which has been popular since the late 1990s, has been accepted and used by gamers. The big trend of 'Pump' took place through a "performative shift" of gamers' creative game performing, and the rise and fall of the 'Pump' took place through competitions and interactions between imaginaries and practices that each subject surrounded the game had. In conclusion, it suggests the necessity of media archaeological research on various genres of arcade games.

• Journal of the Korea Society of Computer and Information
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• v.27 no.8
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• pp.91-101
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• 2022

This study started with the awareness that the review of the historical origins of Korean broadcasting will be of great significance in exploring the future of Korean broadcasting, and examined the various "origins" of Korean broadcasting - colonial, Cold War, totalitarian, neoliberal. Based on the theoretical background of "media archaeology", the historical 'origin' of Korean broadcasting was applied to track the origin of Hallyu(the Korean Wave) in the 21st century by comprehensively examining the political and economic motives of the time, the state's situational awareness of problems, major broadcasting policies and broadcasting realities. As a result of the study, it came to the tentative conclusion that the historical origin of the Hallyu, which began to be formed in the 1980s, originated from the three origins of Korean broadcasting and the "synthetic mixture" in the subsequent development process.

• Journal of Science of Art and Design
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• v.12
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• pp.145-191
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• 2007

21세기는 과학적 물질문명의 발달로 인하여, 과거에는 느껴보지 못했던 물질문명의 풍요를 이끌어 냈으며, 컴퓨터, 메스미디어의 발달로 인하여, 인간 문명의 관심은 지구계를 벗어나 우주론적으로 확장되어 마침내 우주시대를 열었다. 하지만 인간의 이성과 함께 영원하리라 믿었던 과학적 합리성은 20세기 초두에 제국주의적 전쟁을 일으키게 되었으며, 그로 말미암아 이성 파괴 현상이 드러나게 되었다. 급기야 20세기말에 이르러 다원주의라 칭하기도 하는 후기산업사회의 병적 증후군들, 국가간의 경제전쟁, 컴퓨터 및 각종 정보매체를 통한 신속한 정보교환의 이면에는 인간의 자기정체성의 혼돈을 아울러 초래하게 되었다. 과학기술의 발달로 생태계 및 환경은 오염되고 파괴되었다. 20세기말에는 산성비, 엘니뇨, 라니냐 현상으로 인하며, 환경의 재앙을 초래하면서 이제 인간은 문명에 대하여 여태껏 가져왔던 확고한 믿음에 회의를 갖게 된 것이다. 이와 같은 현상은 인간의 주체적 인식과 과학적 믿음의 지나친 숭배로 인하며 자연도 인간에 의하여 지배되고 인간을 위해서만 존재하는, 인간과 자연의 이원론적인 생각 즉, 인간의 이성에 의해서만 가능하다고 생각한 "근대적 주체"에 대한 맹신의 결과인 것이다. 이렇듯 20세기의 문제점은 21세기로 전가되어 여전히 계속되고 있으며, 세계내의 가장 큰 문제점은 전쟁, 기아 등 보다 이제는 오히려 환경. 생태문제로 귀결되어 지구의 생존권 자체가 위협을 받게 되었다. 미술도 서구문명의 근대주의적 영향에 의해서 모더니즘 등 이성위주의 미술인 "근대 주체적 미술"로 발전하였지만 포스터모더니즘에서 보여 지듯 이미 인간의 순수한 이성을 근간으로 한 미술에 있어서의 주체성 주장은 상당부분 무너졌으며, 이제는 장르의 해체와 다원화 현상으로 나아가게 되었다. 환경파괴에 직면하여 이제 주체는 자연이라는 타자를 새롭게 등장시킨다. 그리하여 생명중심주의, 전체론, 감각 중심주의 등 인간과 자연이 함께 공생하는 자연을 향한 생태적인 미술이 절실히 요구되는 것이다. 이에 본 연구논문은 무비판적 서구미술에 동요되지 않고, 지극히 자연적이고 동양적이기도 한 끊임없이 생명력을 창출해 내는 자연에 관심을 같게 되었으며, 환경의 중요성과 함께 생태학적 미술, 즉 생태미술에 본인의 작업을 관계시키고자 한다. 근대적 문명사에 의해 매장된 생태적 유기성의 흔적을 고고학적 탐사방법을 통하며 발굴해 내며, 환경윤리와 생태학, 심층 생태학, 북친의 '사회 생태학'을 수용하여 물질성의 생태적 복원과 함께 조형공간의 다원성에 대한 생태 미술의 일단을 규명코자 하였다.

• Korean Journal of Communication Studies
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• v.25 no.5
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• pp.81-101
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• 2017

The purpose of this paper is two folds: Korean media contents, which has led the Korean Wave in China in 1990s will be reviewed, and the causes of the negative feelings of Korean Wave that have occurred among Chinese netizens will be factored out in order to suggest the solutions to this conflict situation. The reviews and comments on the China's major portal site, Tienya were analyzed by the key words that causes the conflict between China and Korea. Of the total 340,000 responses, politics, history and entertainment are categorized by the keywords, and the largest portion of the netizen's comments are found to be political issues with 34%, particularly the issues related to the THAAD. This means that the negative feeling toward the Korean Wave is more closely related to politics rather than the media contents. Therefore, in order to overcome the negative feelings in China and maintain the stable relationship with the two countries in the midst of the changing US-China situation, it is necessary to lead the media business with high quality contents along with the mutual understanding and cooperation of the media content producers. It is also necessary to try to approach Chinese market in a cooperative and stable way through co-production or joint venture with Chinese media. In consequence, the excellence of Korean cultural contents and the cultural ties with Chinese media market will be identified with in-depth understanding of Chinese nationalism, Sinocentrism and Chinese culture.