• The Korean Journal of Archival Studies
• /
• no.74
• /
• pp.45-78
• /
• 2022

South Africa implemented apartheid from 1948 to 1994. The main content of this policy was to classify races such as whites, Indians, mixed-race people, and blacks, and to limit all social activities, including residence, personal property ownership, and economic activities, depending on the class. All races except white people were discriminated against and suppressed for having different skin colors. South African citizens resisted the government's indiscriminate violence, and public opinion criticizing them expanded beyond the local community to various parts of the world. One of the things that made this possible was photographs detailing the scene of the violence. Foreign journalists who captured popular oppression as well as photographers from South Africa were immersed in recording the lives of those who were marginalized and suffered on an individual level. If they had not been willing to inform the reality and did not actually record it as a photo, many people would not have known the horrors of the situation caused by racial discrimination. Therefore, this paper focuses on Rise and Fall of Apartheid: Photography and the Bureau of Everyday Life, which captures various aspects of apartheid and displays related records, and examines the aspects of racism committed in South Africa described in the photo. The exhibition covers the period from 1948 when apartheid began until 1995, when Nelson Mandela was elected president and the Truth and Reconciliation Commission was launched to correct the wrong view of history. Many of the photos on display were taken by Peter Magubane, Ian Berry, David Goldblatt, and Santu Mofoken, a collection of museums, art galleries and media, including various archives. The photographs on display are primarily the work of photographers. It is both a photographic work and a media that proves South Africa's past since the 1960s, but it has been mainly dealt with in the field of photography and art history rather than from a historical or archival point of view. However, the photos have characteristics as records, and the contextual information contained in them is characterized by being able to look back on history from various perspectives. Therefore, it is very important to expand in the previously studied area to examine the time from various perspectives and interpret it anew. The photographs presented in the exhibition prove and describe events and people that are not included in South Africa's official records. This is significant in that it incorporates socially marginalized people and events into historical gaps through ordinary people's memories and personal records, and is reproduced in various media to strengthen and spread the context of record production.

• Korean Association of Arts Management
• /
• no.50
• /
• pp.101-146
• /
• 2019

After the enactment of the Local Culture Promotion Act in 2014, the government has been continuously trying to find the direction of the local culture that reflects the local life and conforms to the local people's emotions. In response to these efforts, the Organizing Committee for the C Region Biennale has uniquely formed the Biennale Artistic Director as a local artist who includes the historical, ecological and emotional characteristics of the C region. Therefore, I sought to explore the perception of the identity and role of the local cultural arts director through the narratives of the research participants who were appointed as the local residents of the C region and the director of the Craft Biennale. For the study, six local cultural arts directors were selected as research participants, and their identity as a local cultural arts director and its role were explored, focusing on their narratives. In this process, various types of data such as photographs, documents, in - depth interviews, and conference materials were collected and narrative was analyzed based on deterministic events. The results of the investigation are as follows. The idea of the identity of the local cultural arts directors was found to be in three directions. First, it is the view that the symbolic role of the artistic supervisory system of the 10 persons guarantees the identity. Second, the identity of local cultural arts directors was recognized as a role to find ways to be localized by developing and debating cultural and artistic discourses in various regions. Third, the participants had a concern and affection for local cultural arts, not one-time but continuous, and recognized it as their identity. The directors who participated in the interviews showed that the discourse of cultural arts in various regions were developed and discussed, and they wanted to find ways to be localized. The roles of local cultural arts directors recognized by research participants in connection with their identity are as follows. First, it should be the subject of systematic and long-term planning that can close the year and connect with the art events of the following year. Second, it should play a role of academic / research that can derive the identity of social and cultural ecological analysis connected with the area. Third, local arts professionals are required to act as cultural brokers, ie local culture professionals, who can create a venue for international cultural exchanges. Research on the form of local government supervision as a mediator of local cultural arts is to find out the origin of the identity of local artists and to establish a methodology for the direction of culture and art as a subject of local people. In addition, there is a need for continued interest and research in providing a reflection on the communication and meaning of the desirable local culture, and suggesting the system for cultivating local cultural arts intermediaries.

• (The) Research of the performance art and culture
• /
• no.43
• /
• pp.47-78
• /
• 2021

This study was written to examine the acceptance of pansori in movies based on pansori, and to explore changes in modern society's perception and expectations of pansori. A pansori is getting the love of the upper and lower castes in the late Joseon period, but loses the status at the time of the Japanese colonial rule and Korean War. In response, the country designated pansori as an important intangible cultural asset in 1964 to protect the disappearance of pansori. Until the 1980s, however, pansori did not gain popularity by itself. After the 2000s, Pansori tried to breathe in with the contemporary public due to the socio-cultural demand to globalize our culture. And now Pansori is one of the most popular cultures in the world today, as the pop band Feel the Rhythm of KOREA shows. The changing public perception of pansori and its status in modern society can also be seen in the mass media called movies. This study explored the process of this change with six films based on pansori, from "Seopyeonje" directed by Lim Kwon-taek in 1993 to the film "The Singer" in 2020. First, the films "Seopyeonje" and "Hwimori" were produced in the 1990s. Both of these films show the reality of pansori, which has fallen out of public interest due to the crisis of transmission in the early and mid-20th century. And in the midst of that, he captured the scene of a singer struggling fiercely for the artistic completion of Pansori itself. Next, look at the film "Lineage of the Voice" in 2008 and "DURESORI: The Voice of East" in 2012. These two films depict the growth of children who perform art, featuring contemporary children who play pansori and Korean traditional music. Pansori in these films is no longer an old piece of music, nor is it a sublime art that is completed in harsh training. It is only naturally treated as one of the contemporary arts. Finally, "The Sound of a Flower" in 2015 and "The Singer" in 2020. The two films constructed a story from Pansori's history based on the time background of the film during the late Joseon Dynasty, when Pansori was loved the most by the people. This reflects the atmosphere of the times when traditions are used as the subject of cultural content, and shows the changed public perception of pansori and the status of pansori.

• Journal of the Economic Geographical Society of Korea
• /
• v.20 no.3
• /
• pp.287-306
• /
• 2017

Since the 1990s, political geographers have focused on the study of the process of border construction. They have shifted from the old morphological and functional approaches to boundary that have focused on the types and functions of boundaries. Recent scholarship on border studies understand boundaries and the border regions as entities with overlapping and competing relationships not as manifestation of territoriality. There has been the emphasis on the multidimensional actors and the historical and cultural legacies inherent in the border region as well. Based on these recent discussions, this study examines how the border region has been constructed by various actors and strategies in Dandong China, the border city between North Korea and China. Several sanctions including UN Security Council have been resolved and implemented in accordance with North Korea's nuclear and missile development, which is a relevant example to examine the "border as relationships" in which strategies of various actors are competing. In addition, this paper has a significance as a case study on the construction process of border and the characteristics of its materiality, which is a way to overcome the limitation of discourse-oriented critical geopolitical research.

• Journal of the Economic Geographical Society of Korea
• /
• v.17 no.2
• /
• pp.215-230
• /
• 2014

This study aim to do observation to 1) Trajectory of cognitive-cultural economy growth with regional historical context, 2) Spatial, cultural and social change caused by cognitive-culture economy growth, and 3) Draw the meaning of the change in glocalizational view. They said that 'Creativity' has been related with spatial, economical, cultural and social change and it leads to new economical system, what we call 'Cognitive-cultural economy'. It is the important event which is to affect economic geography and local development greatly. New cultural changes are characterized by variations from abstract discourse to concrete reality and show the emphasis on real project specific in the region. Further more, possibility of local development in the glocalization found in the specific form of cultural content, for example, Korean Wave. New media environment changes that include SNS function not only interact each other in space but also expand the scope of local units and cultural content to the world. In order to enhance the further development of local content, it will require conjunction with space and specific region, variety of organic link between the principal participants, and building infrastructure for future development.

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.21 no.2
• /
• pp.328-334
• /
• 2020

In this paper I proved that the intention of the movie is to put the reader at the crossroads of choice, which is still in progress, in this context confirmed that the storytelling is very enlightening and popular. This was demonstrated by the thing of making a story the charactor's Affects process itself in the story and a change in the point of view from witness to participant in the discourse. Jang Hoon seeks to reconstruct the Gwangju Democratic Movement through Kim Man-seop, a character who now lives here with trauma. Faced with a sympathetic message from a common and familiar figure around us, such as a taxi driver, it should be said that the goal was to get the audience to accept past gruesome incidents as part of us. The film uses Affects as a way to make the 1980s "Them" become "we" and replace the 37-year-old incident with our modern story. Soon, the film's intention is to turn Gwangju's Democratic movement from "There, Their Story" to "Here, Our Story." That's why popular storytelling was needed and concluded that it was the popularity the film acquired.

• Cartoon and Animation Studies
• /
• s.50
• /
• pp.299-325
• /
• 2018

Humans have made a third person over a long history and differentiated them from each other. Discrimination of 'us' and 'them' has led Derrida to make works to look upon the human nature towards animal strangers. This study tries to examine upon the expansion of animal strangers by focusing on 'The Animal That Therefore I am.' Furthermore, the research asserts to pay more attention to animal strangers by looking at his works of how modern people think about animals in the current society. Derrida expresses his 'humiliation' that he felt when he faced his cat after a shower. This emotion brings up the topic that was neglected in the conventional wisdom and casts doubts on this. This emotion of humuliation is only felt by humans, and he explains this is one way of feeling like a 'human.' The researcher therefore focuses on the 'experiences of humans' and looks at the ambivalence of humans in culture and the irony in natural animals. This perspective criticizes Speciesism, which considers people other than oneself able to be suffered. This view also tried to escape anthro-pocentrism and looked at the animals on their own. This study examines current animal strangers with theories of Donna Haraway and Jane Goodal, and analyzes Derrida's artworks with Susan Sontag's philosophy. This aims to lead to a conclusion of how to reach an optimal relationship between human and animal. By focusing on Derrida, who has not been highlighted yet in this country, hopes to create effective communication between human and animal by explaining his artworks through new philosophy of animals.

• Journal of Science and Technology Studies
• /
• v.1 no.1 s.1
• /
• pp.123-153
• /
• 2001

This article addresses the 2nd Korean consensus conference on cloning that was held by the Korean National commission for UNESCO in 1999. Though previous perspectives recognized the conference as a new citizen's participatory institution. they do not consider that it contains the ideal of deliberative democracy. This article notes that the citizens participated directly and handled the important social agenda through debate in the consensus conference. The consensus conference is another democratic form derived from preference aggregating democracy in the sense that it basically depends on public judgement of the citizens. This consensus conference has the historical meaning because it is in fact the first experiment of deliberative democracy in Korea. 1) We examine the theoretical foundations of consensus conference. They are social constructionism of science, the tradition of societal debate, and deliberative democracy. 2) We explore what deliberative democracy is. It is different from aggregating preference democracy in the sense that it depends on public judgement rather than private preferences. 3) We investigate the features and meaning of deliberative democracy which has experiment on the conference. In the Consensus Conference it was observed that citizens changed their preferences and went forward to developing their view of community as a result of the process of deliberation. It can be said to confirm the significance of deliberative democracy. However, it is simultaneously an opportunity to clarify some problems of deliberative democracy. First of all, it shows that there were hierarchies within the citizens' panel as well as between the citizens' and the specialists' panels. Secondly, there are difficulties in expressing the value of life in argument or discourse. Also, we need the institutional efforts concerning future generations and nonhuman beings in the respect that cloning relates to them.

• 한국사회복지학회:학술대회논문집
• /
• 2000.04a
• /
• pp.847-865
• /
• 2000

In a broad range of socio-economic and political systems, we could be able to say that the common and highest goal of all nations is the well-being of the people. From this point of view, it can be seen that two significant historic developments were achieved in the 20th century. One was the maximization of productivity through the socially efficient distribution of resources and the other was the concept of national welfare, which assumes social responsibility for the basic livelihood of human beings. In this point, it is need not only to strengthen economic wealth, but also to redistribute resources equitably. Efficiency and equity, economic and growth, and national welfare emphasize the above-mentioned principle, but they are deeply interdependent in that the well-being of the people cannot be guaranteed in the presence of only one of those. This study aims to find out the equilibrium point those problems in the productive welfare policy in Korea. Finally, it is necessary to develop productive welfare systems in order to solve the issues well.

• Journal of Technology Innovation
• /
• v.26 no.1
• /
• pp.1-30
• /
• 2018

This study examines the major changes of research about science and technology administrative system and innovation governance, and suggests future direction through critical review. The subjects of the analysis are papers of such as Korean Public Administration Review, Journal of Technology Innovation and policy reports and government documents published by national research institutes. As a result of the analysis, the research itself has evolved from the part of the government organization to the unique field and main focused historical, normative, comparative analysis and institutional approach. In addition, coordination and integration of science and technology policies have been regarded as important issues in research, and innovation system (NIS) and governance perspectives have begun to be reflected in research. However, it reveals some issues such as small government theory vs big government theory, governance theory vs control tower theory, and shows limitations in problem definition and solution inconsistency, and lack of grand and detailed discourse. Future challenges include the pursuit of evolutionary rationality, the pursuit of diversity in multidimensional research and methods, development of korean policy theory and securing universality.