• Cartoon and Animation Studies
• /
• s.33
• /
• pp.531-549
• /
• 2013

Action games exhibit all the specific constellation of masochism, such as disavowal, suspense, waiting, fetishism, and fantasy. These characteristics of action games can be analyzed with respect to masochism. This study conducted an analysis excluding sadism as much as possible, as sadism is a result of etiological misconception as opposed to masochism. However, comparative analysis is included in the study so that action games are not seen as demonstrating sadism. Games create a space for virtual interaction for main agents by connecting gamer-existence and game-character in the framework of a contract. The interaction of visual tactility within this space creates a system of difference in pleasure. Masochism enables one to attain pleasure in a world created himself or herself using fetishism in contractual relationships such as the ones exhibited in games. This shows that action games and masochism are mutually related. This paper analyzed the ontology of action games using actual examples of action games. The paper concluded that action games lead to the fulfillment of masochistic pleasure.

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

• Journal of the Korean Society of Costume
• /
• v.53 no.8
• /
• pp.21-37
• /
• 2003

The purpose of this paper is to be studied the Devil's types and the special effect makeup's techniques expressed on horror movies. As the theoretical background, the researcher inquired the origin of Satan, Demon and Devil, and the shapes and meanings portrayed in the religion, philosophy art and literature. Also classified the Devil's types of the movies, and examined the factors, techniques and aesthetic characteristics of special effect makeup for each of them. The results are as follows. 1. The Devil's types are the Werewolf, the Zombie and the Vampire. The Werewolf is a kind of Devil that changes into a wolf when the full moon rises. It requires animatronics, rubber body suits, furs and fangs for special makeup effects. The Zombie is a dead body that the exorcist restored with a narcotic drug, and it nibbles on human's brain and flesh. So it needs decayed or pale skins, scars, bald heads, non-focus eyes and false teeth for making this character. The Vampire is a bloodsucking ghost. Therefore, it uses fangs, evil eyes, rubber body suits and dropping blood for special effect makeup. 2. They expresses Sadism, Masquerade and Cruelty as the aesthetic characteristics of the Devil's special effect makeup.

• Journal of English Language & Literature
• /
• v.57 no.2
• /
• pp.315-337
• /
• 2011

This paper aims to examine a truth about love - the close relationship between a person's passionate love and that same person's loneliness and suppressed desires, a relationship that Carson McCullers (1917-1967) portrays in The Ballad of the Sad Cafe. McCullers, one of several brilliant writers from Southern America, managed to overcome her cruel situation and showed deep insight into the human condition, particularly in regard to the relation between love and isolation. The Ballad of the Sad Cafe, like her other works, examines the spiritual isolation and the agony of love that three lovers experience. The love in this story is a triangular relationship among the three main characters, Amelia, Lymon and Marvin Macy. The distinctive characteristics of love described in this story are that each character falls into blind and passionate love for the person he/she loves, no matter how the beloved responds. Love also changes the lover, not the beloved, revealing the completely opposite nature of the lover. The opposite nature and the inner secrets that the love reveals about the lovers reflect their frustrated and suppressed desires, which is femininity and motherhood for Amelia, non-violent masculine power for Macy, and physical attraction and power for the hunchback, Lymon. These suppressed desires are rooted in the deep sense of frustration that they had to experience in their childhood. In short, the seemingly unconditional love of the main characters is not an ideal, altruistic love, but a reflection of their inner desires. This story, however, does not seem to criticize this kind of love but simply tries to give an honest picture of what love might be. It also admits that 'deformed' love is still better than no love (and consequently no stimulus) because what really damages and causes decay in human beings and in a community, is the state of boredom.