• The Journal of the Korea Contents Association
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• v.16 no.9
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• pp.679-693
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• 2016

The purposes of this study were to examine the patterns of recalling memories in the series and look into the desires of viewers disclosed in the process. Entering the 2010s, people got to recall their memories from the 1980s and 1990s. Nostalgia and retro became cultural products. What made the series, those depict the pure love, friendship, and family affection of main characters under age in those decades, so popular among the viewers? Finding a repeating pattern in recollection of the past, dating, and family love, the investigator saw that the pattern met the needs of viewers and thus analyzed their desires inherent in the series with a focus on its "narratives" and "characters." Their unique sounds effect and music established a micro-narrative that could be divided, thus allowing viewers to own certain scenes easily, which worked to make "non-existent" memories. Secondly, the series succeeded in capturing the desire of viewers living in the age of neoliberalism to reduce their fatigue from excessive choices by setting the characters in a contrived way and thus presenting the desire of maintaining the stable middle class world with no conflicts and the passive female characters. The recollections provided by the series, in the end, fill the desire and deficiency of the present beyond a simple return to the past.

• 한국노년학
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• v.38 no.3
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• pp.607-625
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• 2018

This study is on mid-seventies female gamblers who went through Korean modern history. The purpose is to analyze interviews on their life of understanding what their true self is, and to redefine gambling. The concept of 'existential self-regulation' was proposed and the materials were acquired through narrative interviews. The materials were then investigated according to Mandelbaum's framework for analysis of which suggests dimension, turning, and adaptation. The self-narrative revealed that the process of being addicted to gambling is as in the following: compensating her emotional deficiency via money and child's education, getting rid of the emotional deficiency via gambling, becoming free from emotional deficiency. The meaning of gambling has shifted to a comfort to existential vacuum, a source of anxiety ruining life, pastime for boring everyday life. Life events that control the impulse to gamble through 'existential self-knowledge' occurred in the second and the third stage. Based on the results, the study suggests mid-seventies female gamblers to write her autobiography, and proposed the necessity of self-examining programs.

• The Journal of the Convergence on Culture Technology
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• v.8 no.3
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• pp.399-404
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• 2022

Céline Sciamma is a leading female director of her time. She is constantly making works on the subject of women. It can be said that it has pioneered a 'female narrative'. In particular, it shows a unique perspective in dealing with the complexities surrounding the formation of a girl's sexual identity and the influence of peer culture on individuals. In Portrait of a Lady on Fire, 'The Handmaiden', 'The Painter', and 'The Maid' show the solidarity of women without hierarchies in a liberated space where the patriarch is absent, showing a feminist interpretation of classics and a self-reflecting consciousness of women's historical records. Based on the setting of drawing, this film explores the genderization of gaze, gaze and objectification, issues of seeing and power, etc. constructed throughout the history of visual arts. The portrait work of Heloise and Marianne in the film deconstructs the formula of 'a male painter as a viewer and a female model who gazes at herself through the male gaze' and turns the gaze into an interactive process of giving and receiving. The process of exchanging gazes is sealed with a nude painting in which Marianne's face is superimposed on Heloise's body. This overturns the nude painting as the dominant form of engraving the male audience's position in the image through the stylization of the viewing method in the history of Western painting with the erotic gaze of a lesbian in an instant.

• Women's Studies Review
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• v.28 no.1
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• pp.79-120
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• 2011

The purpose of this paper is to illuminate the implication of feminist oral history from a postcolonial feminist perspective as critically reexamining the relationship between hearer and speaker, representer and narrator, the said and the unsaid, and secrecy and silence. Based upon oral (life) history of a U.S. military prostitute (yanggongju), I tried to show the experiences of a historically-excluded and marginalized 'Other,' and then critically reevaluate the meaning of encountering 'Other', not just through the research process but also in the post/colonial society in Korea. The narrative of an old woman in the "kijichon" (a formal prostitute in U.S. military base) shows how woman has navigated the boundaries between inevitability/coincidence, the enforced/the voluntary, prostitution/intimacy, and military prostitute/military bride while continually negotiating as well as having conflict with various myths and ideologies of the 'normative woman,' 'nationhood,' and 'normal family.' In addition, her narrative which causes the rupture of our own stereotypical images of a military prostitute not only proves the possibility of reconstructing the self-identity of a subaltern woman, but also redirects the research focus from the research object to the research subject (ourselves). Consequently, the implication in feminist oral history is that feminist researchers who whish to represent the experiences of other should first inquire 'what/how we can hear,' 'why we want to know others,' and 'who we are,' while simultaneously asking if subaltern woman can speak.

• The Journal of the Korea Contents Association
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• v.17 no.12
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• pp.272-280
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• 2017

This article compares the content of a Korean movie, Miss Granny, and its Chinese adaptation, 20 Years-old Again. Popular in both countries, two movies are based on a same synopsis with similar characters and plots. With similarities, they also display differences originating from distinct social, cultural, and political conditions in each society. Firstly, Miss Granny displays women in Korea closer to mother figures than any other social roles, while 20 Years-old Again does more individualized and sexually active female images. Secondly, the former shows Korean men as the heads of houses in the Confucius tradition, but the latter does Chinese men more demoted and democratized. Thirdly, the former depicts the Confucius social caste system still surviving against oblivion, as the latter does the system being able to be overcome by serving the country. As main reasons of these differences, this article takes historical, social, and cultural differences that both societies have experienced from the early $20^{th}$ century.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.1
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• pp.188-198
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• 2016

This study explored the experience of clinical nurses caring for foreign wives in Korea. A narrative study approach within the qualitative research paradigm was applied in this study. The data were collected using individual in-depth interviews with 10 clinical nurses who had at least 5 years working experiences caring for foreign wives and their children in the Women and Children's clinical setting. The narrative stories of the clinical nurses were analyzed in the frame of culture-bounded nursing care. In the culture-bounded nursing care, ethnocentric viewpoints, acceptable viewpoints, and culture-based viewpoints were identified within the time frame. Significantly, the narrator identified herself as a therapeutic caregiver in the culture-based viewpoints providing tailored caregiving for foreign wives. This study requires cultural sensitivity of nurses who care for the people with different cultural backgrounds. Self-awareness would be the starting point to reach culturally competent nursing care.

• The Journal of the Korea Contents Association
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• v.13 no.2
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• pp.100-107
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• 2013

Agn$\grave{e}$s Varda is a French representative female film director. In particular, the method combining subjectivity and objectivity is the most outstanding characteristics. However, it can be said that the method to support this is not only theme of the film but also creation of structure including the exploration for the filmic form different from classical film form. Such an approach accords with No$\ddot{e}$l Burch's refined analysis of filmic form. Therefore, This study aims to aesthetical analysis of the form of producing the structure in modern movies through which is one of the representative work by Agn$\grave{e}$sVarda and won the Golden Lion award in 1985 Venice Film Festival. The theme of the film, the recovery of relationships among people and contacts through the tragic death of drifting life, created a new filmic structure by formative experiment of the film. The formative experiment is the fragmented and repetitive construction with the introductory voice-over, and consists of movement and editing of camera and specific use of flashback and sound through the representation of figures and situations, mixture of narrative and non-narrative style.

• Cross-Cultural Studies
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• v.45
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• pp.479-496
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• 2016

The aim of this essay was to investigate Marlow's desire for constructing enlightenment subject of knowledge and power sustained by the collusion of imperialism and patriarchy in Joseph Conrad's Heart of Darkness. Marlow's narrative, based on his journey up the river in Africa to retrieve Kurtz, attempts to conceptualize himself as the subject of the enlightenment reason and rationality. In the novella, collusive network of ideologies of empire and gender contributes to the making of a Western Enlightenment subject. Marlow eulogizes himself for realizing the harsh realities of imperialism, political domination and economic exploitation of the natives in Africa. However, Marlow is a colonial subject who has been ruled by the hierarchical system of thought in the Western logocentrism. He is not aware that his narrative has already been infiltrated by the ideological discourse of the totalitarian enlightenment. His narrative in effect is not a self-congratulatory testimony to truth and realities but a narcissistic and self-defeating document. Marlow unconsciously employs the totalitarian ideologies of empire and gender in order to relegate the African natives to the inhuman existence and to consign women to the sphere of illusion.

• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.194-207
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• 2022

Amid growing social interest in child abuse, and announced the seriousness of child abuse crimes and aroused public interest in related issues. Based on true stories and characters, both films created unique narratives about child abuse cases, but drew on the traditional representation and discursive construction of child abuse news articles. By setting the stepmother as the perpetrator and the father as the neglecter, the gender role of women as primary caregiver was reconfirmed and the stereotypical image of the 'evil stepmother' in popular narratives was exploited. The cinematic reenactment of the evil stepmother not only highlighted the normative family discourse, but also reinforced the maternal myth by emphasizing the binary opposition between the evil stepmother and the lost birth mother.

• (The) Research of the performance art and culture
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• no.32
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• pp.489-524
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• 2016

This study examines the birth of a genre, the $Sekky{\bar{o}}bushi$ Misemono Opera, focusing on how it accepted and modernized Katarimono $Sekky{\bar{o}}bushi$. Unlike earlier studies, it argues that Terayama was clearly different from other first-generation Angura artists, in that he rebirthed the medieval story $Sekky{\bar{o}}bushi$ as a modern Misemono Opera. Shintokumaru (1978) was directed by Terayama $Sh{\bar{u}}ji$, a member of the first generation of Japan's 1960s Angura Theatre Movement. It takes as its subject the Katarimono $Sekky{\bar{o}}bushi$ Shintokumaru, a story set to music that can be considered an example of the modern heritage of East Asian storytelling. $Sekky{\bar{o}}$ Shintokumaru is set in Tennoji, Japan. The title character Shintoku develops leprosy as a result of his stepmother's curse and is saved through his fiancee Otohime's devoted love and the spiritual power of the Bodhisattva Avalokitesvara. In this work, Terayama combined the narrative style of $Sekky{\bar{o}}bushi$ with J.A. Caesar's shamanistic rock music and gave it the subtitle 'Misemono Opera by $Sekky{\bar{o}}bushi$'. He transforms its underlying theme, the principle of goddesses and their offspring in a medieval religious world and the modori (return) instinct, into a world of mother-son-incest. Also, the pedestrian revenge scene from $Sekky{\bar{o}}bushi$ is altered to represent Shintokumaru as a drag queen, wearing his stepmother's clothes and mask, and he unites sexually with Sensaku, his stepbrother, and ends up killing him. The play follows the cause and effect structure of $Sekky{\bar{o}}bushi$. The appearance of katarite, a storyteller, propelling the narrative throughout and Dr. Yanagida Kunio is significant as an example of the modern use of self-introduction as a narrative device and chorus. Terayama $Sh{\bar{u}}ji^{\prime}s$ memories of desperate childhood, especially the absence of his father and the Aomori air raids, are depicted and deepened in structure. However, seventeen years after Terayama's death, the version of the play directed by Ninagawa Yukio-based on a revised edition by Kishida Rio, who had been Terayama's writing partner since the play's premier-is the today the better-known version. All the theatrical elements implied by Terayama's subtitle were removed, and as a result, the Rio production misses the essence of the diverse experimental theatre of Terayama's theatre company, $Tenj{\bar{o}}$ Sajiki. Shintokumaru has the narrative structure characteristic of aphorism. That is, each part of the story can stand alone, but it is possible to combine all the parts organically.