• Journal of the Korean Geographical Society
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• v.42 no.4
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• pp.560-581
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• 2007

The purpose of this paper is to present a conceptual framework and a stage of development of trust building and to study the factors affecting on the trust building in economics space. Conceptual framework on trust building in economics space is combined of in the three approaches. The macro(structural and institutional) approach includes normative and regulative factors(laws, norms), and positionality in social and economic systems(beliefs, political ideologies, institutions). The meso(intersubjective) approach contains the personal fronts(expressive factors, social cues, significant symbols) and settings(physical space, intermediary such as technologies & knowledges). The micro(subjective) approach comprises the willingness(internalization of value) and calculation(risk and uncertainties analysis) of economic actors. According to sustainable cooperation among economic actors, trust building to the macro(structural and institutional) level, the meso(intersubjective) level, and the micro(subjective) level develop by stages. The factors such as long-term and repeated interaction, information sharing and reciprocity, interdependence and asset specificity, uncertainty, proximity, and culture & norm of corporate and formal institution are determinants on the trust building across economic actors in economic space.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.187-198
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• 2020

With the cultural background of whiteness I did examine the universal meaning of absolute good, the special of psychosis, and the fantastic of femininity and memory/record. As an example I analyzed the symbolic meaning of white used in Korean films. Unconditional goodness, white as a generality: White color in all the films of good-evil confrontation falls into this category. The most obvious and the simplest configuration are the black-white dichotomy. In Nameless Gangster: Rules of Time(2011), The Merciless(2016), Asura: The City of Madness(2016) and The Bad Guys: Reign of Chaos(2019), white is the absolute good but it is not limited to a fair key figure. Paradoxically, black is not given only to the side of absolute evil. White is used to be a flexible visual device that reflects the socio-political situation without changing the meaning of the general good. Psychosis and pills, white as a peculiarity: The visual function that emphasizes sado-masochism in the absolute good and the universal symbol of white extends to psychotic specificities such as hysteria. In all the films creating horror, white symbolizes the mentally disabled and the pill for healing. Femininity and haunted white: White of absolute good is expressed by the socio-cultural tendency of femininity and the black-white contrast of vision is applied to the gender difference. In general the women's sexuality is emphasized in color red, but white is arranged in the background. In TaeGukGi: Brotherhood Of War(2004), 71: Into The Fire(2010), My Way(2011), The Front Line(2011), Roaring Currents(2014), Northern Limit Line(2015), The Battle: Roar to Victory(2019) and Battle of Jangsari(2019), white given to female figures sticks to the traditional femininity such as motherhood, sacrifice and weakness. The concept of specters is applied to desires, memories/records, history, fantasy, virtual/reality and social media images. The film history capturing to list memories and moments brings up the specters of socio-political genealogy. Most of films aiming for socio-political change are its examples and white constituting Mise-en-scene records to remember a historical event in Peppermint Candy(2000), The Attorney(2013) and A Taxi Driver(2017).