• Cross-Cultural Studies
• /
• v.40
• /
• pp.41-60
• /
• 2015

This article aims at exploring the convergence and sharing of cultural tastes among Northeast Asian countries by analyzing TV drama "Boys over flower", based on the original Japanese manga and produced in Korea, China, Japan and Taiwan in the $21^{st}$ century. It explores the expectation and desire of the mass who have taken pleasure in watching it in each country as well. This article argues that the sharing of the sensitivities and tastes of young women, the main consumer of the drama, by the mass of the four countries, are an important cultural phenomenon in that it reveals the emergence of "girl" as an active cultural consumer, who had been the object of a restraint and strict protection of the bourgeois family structure.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
• /
• 2017.10a
• /
• pp.437-440
• /
• 2017

2017년 상반기 우리 게임 시장의 특징 중 하나가 중국산 모바일 게임의 국내 흥행이라 할 만 하다. 3월 경만 해도 중국 게임사들이 카카오 등 국내 유통 업체 등을 통해 시장에 들어왔다면 7월 이후 우리 시장을 포함한 구글 플레이 마켓에서 초강세를 보이는 소녀전선 등은 국내 시장을 노린 한글화 작업 이외에는 중국, 대만, 홍콩 등의 업계가 제작과 배급을 다 담당하고 있는 실정이다. 본 논문은 이러한 국내 모바일 게임 시장에서 강세를 보이는 중국 게임을 플레이하는 국내 사용자들이 중국 게임임을 인지하고 있었는지, 또 어떤 면에서 국내 게임보다 더 선호되었는지를 여러 모바일 게임 사이트를 통한 201명의 설문 조사를 통해 밝히고자 하였다. 중국산 게임의 한국 사용자들은 79%가 남성이고 대부분이 20대 이하였으며 미소녀 함선 게임을 주로 하지만 그런 장르적 특성 이외에 소녀성, 판타지성, 선정성이 강화된 일러스트와 한국 게임과는 다른 과금정책 및 운영정책에 높은 점수를 주었음이 드러났다. 더 이상 한국 모바일 게임이 중국 수출품용이 아니라 오히려 우리가 시장을 방어해야 할 단계가 아닌지 심히 우려되는 상황이라 하겠다.

• Journal of Popular Narrative
• /
• v.25 no.3
• /
• pp.67-99
• /
• 2019

This paper analyzed romance novels imported into Korea in the 1980s and examined the traits of Korean girls' culture at that time. To this end, This paper chose as subjects the series of 'high-teen romance' published by Samjungdang, 'princess bestseller' by Seoul Publishing and the 'silhouette romance' by Joongang Ilbo in the 1980s. Through the aspects of the paperback romances, the traits of the artist, the content of the work, and the response of the reader, this paper analyzed the position and affection of romance as a genre in Korean culture in the 1980s. In the 1980s, most of the paperback romances available in Korea were translations of the modern and progressive present lines of Harlequin Enterprise's category romance. There were also many writers who were mostly introduced with progressive characters like Charlotte Lamb. The Harlequin romance depicts a story of sensual love. These translated 1980s paperback romance novels allowed girls in Korea to freely imagine the problems of sex and love. In particular, it showed a new perspective on women's sexuality. In Korean love novels, the sexuality of women was treated as an object for the gaze of men. The novels of female writers as college student who criticized this dealt with women's sexuality, but focused on criticism and resistance to the ideology of chastity. The paperback romance made it possible for women to freely enjoy their sexuality by escaping the ethical standards of reality. In addition, the paperback romance was an escape from the frustration of love. Romantic love in Korean love novels did not lead to the unification of mind and body, and always ended in tragedy. On the contrary, the paperback romance started with the fear of the girl who felt love for the first time, showed the process of winning over anxiety, confirming love and reaching a happy marriage. Through this, girls understood general love that was not subordinated to the ideology of chastity, and accepted love positively. The process of establishing romance as a genre in Korean culture and the traits of its readers have not yet been sufficiently clarified yet. This paper compared the romance genre with the other love novels of the day, explaining the position and meaning of the romance genre in Korean culture in the 1980s. Through this, we were able to chart the historical development of the Korean romance genre.

• Journal of Popular Narrative
• /
• v.26 no.3
• /
• pp.123-160
• /
• 2020

Manga develops by reflecting a change of society, reader's needs, and their thoughts and changes of tastes, sensitively. Shojo manga and Jyosei manga also do. We can find several kinds of meaningful changes in Japanese Jyosei manga in the 2010s. The works which represent preciousness of daily life, women's narrative and self-realization are gradually increasing. In addition, the works that deal with very touchy issues such as sex discrimination at work, sexual harassment begin to emerge. It has never been found in the manga of the former era. While this paper analyzes the social and cultural causes of these changes of the works that exclude romance and treat gender issues focusing on recent works, it examines changes of Japanese Jyosei manga in the 2010s and their meanings. I investigate the current trends of Japanese Jyosei manga in the 2010s through Umimachi Diary that represents a precious everyday life with woman-centered narrative, Metamorphose no engawa that deals with women's story from a new perspective, Good-bye My Miniskirt that tackles gender issues. Furthermore I intensively analyze how Nagi's Long Vacation and Darucyan, which win popularity from women in their 20s~30, represent lives and troubles of contemporary Japanese women. Nagi's Long Vacation represents the heroine's quest for a self throwing everything out. While Darucyan deals with self-realization, it forms of a bond of sympathy of readers by representing the heroine who suffers sexual harassment and inequal conditions very realistically. Nagi's Long Vacation and Darucyan have something in common with portraying troubles and self-realization of the working women in their 20s based on a indigenous reality to Japanese society very realistically. However they are unusual in that it is different from the manga of the former era in dealing with heroine's troubles and their solutions. The most distinctive changes of Jyosei manga since 2010 are that real issues surfaced with social changes. In addition, these social contradictions result from irrational discriminations and old customs of Japanese society for a long time. Manga reflects subtly the portraits of the times, their images of women, and their values. These changes of Jyosei manga also show the concerns of readers at that time, and it means that women began to be aware of the issues.