• Korean journal of communication and information
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• v.71
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• pp.157-193
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• 2015

The purpose of this study is to critically interpret generational trends in contemporary Korea through understanding the consumer experiences of luxury bag purchases of women in their late 20s and early 30s. Previous studies on luxury consumption tend to focus on an analysis of the value of luxury products as a sign and a symbol, the characteristics or class identity of luxury consumers, or expressive behavior in terms of ideal self-image. While including these factors, this study also expands the scope to a reflexive understanding of the social structural context behind the phenomenon of personal consumption. This was achieved by considering consumption in terms of the style and practice of everyday life, as well as its opportunities and limitations. In particular, we pay attention to how luxury bags are reproduced as media, which is a process that is circulated back to consumption, and through this process, this study reflects on capitalist life and subjects.

• Cross-Cultural Studies
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• v.45
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• pp.433-478
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• 2016

This article investigates the role of Japan in Korean consumption of Nordic design. In spite of the development of greater access to wide information and global markets, the popular trends in Korea have been mediated by Japan. The cultural power of Japan comes from otaku subculture. Japanese influence can be discussed by two sides. One is the images or symbols composing the Nordic style in Korea. The other is the way how to consume the Nordic design. Japanese neopop images combined with the Nordic design. Japanese 'slow movie' has combined American Kinfolk style with Nordic style. 'Database consumption' from otaku subcultre conceptualized by Azma Hiroki can be applied to Korean consumption of Nordic design.

• The Journal of the Convergence on Culture Technology
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• v.8 no.1
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• pp.395-402
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• 2022

The film House of Hummingbird intersects Korean modern history and personal history through the eyes of a teenage girl, and closely explores how patriarchy and Korean capitalism leave traces and internal impressions on the growing up of the female subject. This film is a meaningful text in terms of showing what changes can occur when the subject is transformed from a boy to a girl in the narrative of growth and when a feminist point of view is entered. House of Hummingbird reveals the weakness of the patriarchal symbolic order through the gaze of a teenage girl in the episodic narrative composition, and also discovers the possibility of close relationships and bonds between women in the gaps. In particular, Yeong-ji, the main character girl Eun-hee's Chinese language school lecturer, is a new female character that has never been seen in Korean teenage films. As a result, in House of Hummingbird, we meet a new female subject who negotiates the pain of growth in a 'good enough' condition.

• The Korean Journal of Archival Studies
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• no.24
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• pp.215-274
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• 2010

Iron-making industries of the country, regardless of age has been the focus. This makes the iron production technology and production techniques that result in increased economic activity and because of the central charge. Therefore, the social development of ancient iron-making technology is based on phase-sensitive. Modern steel making up the monopoly of the country's target under the strict control of production, distribution was. It is essential to produce iron weapons was a threat is because you can keep the throne in the hands of the forces that can cause side effects when I went was to block. This study created a rail Cholbi(iron monument) and the regional distribution pattern of the production, construction background, looked on. Cholbi(iron monument) for the production and recording "the Annals of the Joseon Dynasty" often appear in history books and many academic interests, but was off target. Compared to a stone monument that was not generally as well as the Japanese colonial period and over the course of modernization destroyed, damaged a lot of cases the cause may be found in front. Cholbi(iron monument), except for the gravestones of the Joseon Dynasty monument erected in honor of virtue, as an example of content that dominated a packman business, founding of the school and confirmed that a few were built as a special purpose. Cholbi(iron monument) compared to the production technology or the cost of the monument's difficulty in financing follows. Therefore Cholbi(iron monument) the establishment of the Joseon Dynasty through the background of the economic situation and the local government can look. And iron technology began complaining about the object of history, economic conditions, with the change of season has been a change in people's consciousness tells you. Important data of ancient history as an epigraph that has been as important, the Middle Ages to modern times ranging from newly born to the time Cholbi(iron monument) in the development of the country's documentary subject to change should have been brought. Based on these discussions changes the identity of the hero monument and production inspector, review of production through the Joseon Dynasty period Cholbi (iron monument) contemplated the significance is reflected in production.

• Science of Emotion and Sensibility
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• v.11 no.4
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• pp.599-612
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• 2008

Today, communication trend of financial brand has changed fast with more foreign financial brand's introduction, emerging financial brands through the openness. With the trend of changing, companies are introducing various marketing methods to differentiate its brand image. And color marketing becomes an important tool for the differentiation. However, except a few brands, brand color which expresses management character of a company is different from the customer's preferred color which is based on investors' investment tendency. This may be related to the brand Image which is final goal of communication. Therefore, this study suggests effective communication method between company and customers by analyzing preferred color of customers by their investment tendency and comparison analysis security firms' color marketing strategy. As a result, it was found that Roland Barthes symbolic meaning of colors is different from the symbolic meaning of the groups of investor tendency. For example, I assumed that aggressive investors preferred strong color like red or orange, but the survey result was far from my assumption. I hope this study can be a good foundation for logical and scientific marketing in communication between security companies and customers in more open market with introduction to the Capital Market Consolidation Act.

• Journal of the Korean association of regional geographers
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• v.12 no.5
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• pp.540-556
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• 2006

The purpose of this paper is to analyze a process of formation of an ethnic community in the global era, taking an example of foreign workers in Igok-Dong, Dalseo-gu, Taegu. Previous studies suggest that playing a role as a hub of culture, resources and ethnic networks an ethnic community becomes an imagined space where its members can feel "us". Through this imagined space, ethnic people communicate and exchange information with each other and establish transnational linkages between their origin and destination countries or the third countries. In my research in Igok-Dong it was observed that ethnic shops had become the centers of the community of foreign workers and helped them connect with their own ethnic people from wider areas than their residence. Partly because of such networks exclusively focused on their own ethnics, there was little connection developed between foreign workers and locals. A social distance between the two parties may turn into antagonism as the ethnic community grows in number. Since it is foreseen that demands for foreign workers will continue to rise in Igok-Dong it is necessary to seek ways to achieve a more inclusive and harmonious multi-ethnic society for both foreign workers and locals.

• Korean journal of communication and information
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• v.77
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• pp.111-136
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• 2016

This paper focuses on the national "flagging" as a current affair, important phenomenon. National flags, it sees, take over varous places, control the surrounding space, and even dictate everybody's perspective by being visualized everywhere anytime. It investigates the issue of national flags and their hoisting poles as a sort of apparatuses that interpellate me as well as us into patriotic 'gookmin'. The placement, arrangement of national flag poles around the country continued throughout 2015 and particularly speeded up in October of the year is regarded as a key symbolic, symptomatic sign to read the transformation of political conjuncture. Preparing a radically conjuncturist cultural study about the changing reality, the researcher will see the flagging poles as a phenomenal result, outcoming of certain intent and plan for reconstructing the political actuality. More precisely, he will interpretate the tall omni-present poles of national flags as a dispositif of appearing the neoliberal/neoconservative capitalist state, as a apparatus of constituting and expressing the masses' psycho-ideological condition of today. The researcher, who perceives the national flag poles as a kind of ISAs. will first review the increased flagging phenomenon and related media discourses. Next, he will critically investigate the 'love our country' 'national flagging' movements organized by the above and operated from the bottom. Then, he will focus more on the very tall national flag poles built and seen around the country. Finally, he will conclude the study with a critical remark, touching briefly the case of controversy over setting a pole in the center of Seoul city square.

• Korean journal of communication and information
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• v.75
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• pp.9-42
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• 2016

This study critically examines the social and personal meanings that luxury consumption have in contemporary Korean society through understanding the consumption experiences of men in their 30s. Interviews with nine male consumers who are committed to luxury brands, especially those that produce suits, watches, fountain pens, and shoes, were conducted to collect qualitative data. We found that participants are satisfied with the whole process of luxury brand consumption including buying, using, and managing and try to consume the products for self-expression, congruent with their lifestyle and identity. Individuals have learned how to consume the luxury brand from their role models. Their consumption follows hybrid and postmodern patterns and combines luxury brand products with non-luxury one. In contemporary Korean society, using the luxury products is considered necessary to achieve some advantages in social contexts and can be also functioned as a sort of social signifier and self-help, as well as, a tool for self satisfaction or well-being.

• Cross-Cultural Studies
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• v.53
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• pp.193-218
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• 2018

In this essay, I examine the interactions of chronotopes in the narrative of Gangnam Blues, a film written and directed by Yu Ha and released in 2015. Bakhtin's chronotope, the connectedness of temporal and spatial relationships in literary narratives, provides the background for the representability of events and becomes the organizing center for the events. Each chronotope offers a different way of acting, interacting and understanding experience, and chronotopes can interact with each other in a single text or between the reader and the represented world. Gangnam Blues is a gangster movie, first of all, showing an individual's illusion of an unlimited possibility for achieving wealth and power. At the same time, the film describes the government's project to transform Gangam, a rural area in the south of the Han, into a new downtown and residential area for Seoul. As the world in the narrative and the world of the author or the reader are all chronotopic, we can see the interactions of chronotopes between the narrative of an individual and the historical narrative, as well as between the narrative about the beginning of Gangnam and the audience's perception of the present Gangnam. In this film, the main character's ambition is shown as part of the social desire for rapid economic achievements in the 1970s, along with high social mobility. The social desire can be explained as envy, as it is fueled by social comparisons and competitions. The main character's pursuit of money and power through the possession of Gangnam land overlaps with the envious desire for the present Gangnam shared by many. The individual's exceptional ambition and violence are not fully examined in this text. Moreover, the film's dependence on the feelings of envy to represent the individual's choice and violence can be a symptom of the lack of critical distance from social desire and envy.

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.73-82
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• 2019

The satirical content of the absurd play, centered on Lee Keun-sam's play, represents the family image of a modern capitalist society where only duty is emphasized while the characters are lost in love with the family. They show humans becoming subordinate to economic logic as traditional relationships and family relationships change into material ones due to the rapid development of the economy. The narrator expresses the roles of the performer and the narrator together. It also presents the plot as a characteristic element of epic and absurd dramas, and directs actors as directors. It also foretells the events that will take place in the future, presents the inner consciousness of the characters in the play, and reduces and expands events and times. In terms of conflict, in order to fulfill the financial responsibility of their children, the professor translates them like a machine and the wife distributes the money they earn as they demand. The middle-aged professor and his wife are not willing to make a difference in the real world, so specific conflicts are not revealed. Therefore, no concrete conflict appears within this work. The plot of consisted of 22 epicentre compartments, consisting of a time frame from evening to the next morning. And no special events happen and show only one family's daily life. In addition, materials that show simple repetition of daily life such as newspapers, rice, birthdays, etc. are effectively showing the character of absurdity through repeated structure. The linguistic features of the absurd play focus on expressing anxiety, despair, fantasy and the sense of loss that the object's purpose has disappeared. The stage system avoids detailed portrayals of naturalist plays and creates a thoroughly simplified image that the theme of the play demands, which shows that the stage unit is also an important element that characterizes the absurdity of reflexes.