• The Journal of the Korea Contents Association
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• v.18 no.10
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• pp.631-643
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• 2018

This study is the first ever attempted series paper of one particular TV drama writer, Su-Hyeon Kim, with diversified and systematic scale. Along with the just before study, proving Su-Hyeon Kim's line's conceptual properties as the Bahktin's dialogism, its core of polyphony, this study is to analyze the concrete method of creation through Bahktin's Canivalistic creation component of 'Grotesque Realism' and 'Unofficial Square Language'. With her work of (SBS, 1992), this study verifies its characteristic creation of lines to be the 'Grotesque Realism' components of overturn, destruction, and creation along with 'Unofficial Square Language' components of the masses, material, physical language, and discourse of self-liberation. In this way, this study is on one hand, to overcome the application problem of Bahktin's theory as a separated one, but also to enhance the quality of the study of the writer and the lines. As a result, she has acquired her own distinction of ambivalence by the way of demotion, overturn with masses' material, physical, unofficial square language along with a stronger execution of acquiring self denial, positivity. liberation, and life. Therefore the writer is highly rated for her fierce cognition of language and her artistic spirit. Also, this paper proposes the following study to appraise the impact of the writer's differentiation and artistic spirit on the creation of Korean TV drama, contents industry, and mass media.

• The Journal of the Korea Contents Association
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• v.16 no.10
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• pp.573-587
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• 2016

This study is the one of the first full-scale subsequent research of a TV drama writer who has been out of scholarly pursuits. Along with the 5 advanced research, this study is to analyze Su-Hyeon Kim's difference and her underlying consciousness by applying the Bahktin's dialogism to the author's creating lines instead of existing speech research. Bahktin's dialogism, its core of polyphony, presents a definite purpose to a artistic creation of language. That is to require the author to have 'outsideness' 'boundary carried over' and 'excess of seeing' in a author relation with characters as it leads the characters to 'the whole'. It means an equal relations of mutual independency between the author and the characters. Also this relations accompany by 'unfinalizability of dialogue'. This study ascertains whether the dialogism actually being realized or not in her lines of of her early stage, of melodrama, and of home-drama. The result of this study shows that the she creates 'polyphony', diverse voices of characters, with her mutual independent relations with characters, that is the voices of between characters, between characters' inside. This research also shows that she realizes 'unfinalizability of dialogue' in her drama work itself of open-end as well as in her lines. She has her own consistent distinction of creating lines to be a her drama work itself, that also means to explore language of human beings's existence, and language of perception, instead of using it as a simple tool of making a drama. This study is to explore a subsequent research of the author's lines with another Bahktin's carnivalesque as the lines's importance and the theory's vastness.

• The Journal of the Korea Contents Association
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• v.12 no.7
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• pp.29-39
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• 2012

This paper focused on the difference between an adaptation of novel and movie and the common process of making spy novel into an action-packed movie. The polyphony what Mikhail Bakhtin said turned out to be the way of description for double spy, a major motif of narrative in this novel and movie. There is a new possibility of adaptation that has a dialogical narrative, character description by multiple narrators and repetition of the same place. It was suggested the possibility of polyphonic adaptation by the consideration for a narrative aspect in the process of making the novel into the movie. This study will be expected to be help for studies of an adaptation between the novel and movie.

• Cartoon and Animation Studies
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• s.47
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• pp.81-101
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• 2017

The present study argues that film director Lee Ae-rim animation works depict the world of the grotesque and not only are important sociocultural phenomena but also hold the significance of humor and subversion. The grotesque exhibits the intriguing characteristics of expressing a perspective critical of the existing society through the sensibilities of minorities and is used broadly as a term not only in the aesthetic sense but also designating sociocultural phenomena. Although discussed separately in terms of Mikhail Bakhtin's carnival grotesque and Mary Russo's uncanny grotesque, the grotesque fundamentally rejects existing order and conventions and is externalized through unique expressions, thus opening up a rich possibility for rejection, humor, satire, transformation, and deconstruction of and regarding the authority of the mainstream. Although they constitute a fictional medium, animation films are social products as well so that they are affected by society, culture, and history and stand as important texts that must be interpreted in terms of the relationships between humans' instinctive desires and society and between the overall culture and artistic media. However, the rarity of grotesque portrayals in South Korean animation films also proves that it is a society where even problems that are in themselves sensitive must be manifested ingeniously on a conventional level. South Korean society has a unique history of colonialism and national division and is simultaneously in the unique situation of a society that has undergone growth at a nearly unprecedented rate. Consequently, the society exhibits closed yet dynamic particularity where everyday tension and rigidity, wariness of others and extreme competition are intertwined in a complex manner. Intensively analyzed in the present discussions, director Lee's animation films and are characterized mainly by grotesque images, nonlinear narratives, and vivid depictions. In such a context, these works not only are artistic products of South Korean society but also rejections of a rigid society and share the significance of the aesthetics of the carnival grotesque, which consists of subversive expressions directed at a new world.