• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.123-132
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• 2019

This paper analyzes the performances of actor Song Kang-Ho in the background of interdisciplinary and integrated film acting, using performance rather than acting as a general term. If the act is a concept limited to acting training or acting skills, performance is a broad concept that includes expressions, movements, and emotions. The performance on the screen can be explained in the context of film and can be extended to the social attitude of acting. In addition, I used the term screen in terms of representation rather than film referring to medium. Song Kang-Ho expressed the performances of various characters in more than 30 films. Although his facial expressions, gestures, and voices suitable for individual characters in various genres are represented in various ways, personality inherent in the actor Song Kang-Ho integrates persona with character. What drives it is the social attitude of screen performance. As a sign, acting is an ideological construct and foregrounds a character who describes a certain social and historical moment. Song Gang-Ho as actor, persona and character, who asserts the popularity, speaks to society and makes discourse. His comic performance is always confronting the tragedy of life, his face is the spirit of the times, and it expands into social meaning. The face of the close-up does not laugh at all, the gesture symbolized by the curved rear view is exaggerated disorderedly and disturbingly, and the voice using dialect accent does not follow the standard of the vocal.

• Korean Journal of Legislative Studies
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• v.26 no.3
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• pp.125-159
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• 2020

Amid global pandemic of covid-19, Korean government's response has drawn wide attention among social scientists as well as medical studies. The role of Korean state and civil society has attracted particular attention among others. Yet, this paper criticizes extant studies on Korean case which focus on the extensive intervention of the strong state and subjective attitude of Korean citizens in coping with covid-19. The concept of the strong state lacks social scientific specification and subjective citizens do not match with Korean realities. This article argues that Korean state's capacity in collecting and mobilizing digital data may offer better understanding for the successful responses to the pandemic. First, Korean state is the ultimate coordinator in collecting, analyzing and applying big data about the expansion of covid-19 with its huge network of dataveillance. Also, such role has been largely based upon relevant legal framework and well prepared manuals and cooperation with civic actors and companies. In other words, Korean digital dataveillance had demonstrated its transparency and cooperative governance. Second, such dataveillance capacity has deep roots in the long-term development of Korean state's big data management. Korean state has evolved about thirty years while enhancing digital data network within governments, companies and private sectors. Third, the relationship between Korean state's dataveillance and civil society can be characterized as a state centered push model. This model demonstrates highly effective governmental responses to covid-19 crisis but fall short of building social consensus in balancing individual freedom, human rights and effective containment policies. It means communitarian solidarity among citizens has not been a major factor in Korea's successful response yet.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.6
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• pp.98-114
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• 2017

This study analyzed the commemorative landscapes of eight Holocaust concentration camp memorials(HCCM) of Germany and Poland from a landscape architecture point of view including historical landscape, places and remains, and monuments. A site survey was conducted at Dahau concentration camp memorial(CCM) and Bergen-Belsen CCM of Germany in September of 2015 and the Auschwitz-Birkenau extermination camp memorial(ECM), Majdanek ECM, Belzec ECM, Sobibor ECM, Treblinka ECM, Chelmno ECM of Poland in April of 2016. The results are as follows. First, the landscape of the concentration camp at Dahau CCM, Auschwitz ECM, and Majdanek ECM liberated by the Allied Forces was well conserved with the maintenance of camp facilities and the spatial structure of camps while monuments and memorials seized by sociopolitical argument were built with restriction. But Belzec ECM, Sobibor ECM, Treblinka ECM, and Chelmno ECM devastated and planted artificially to forest were overwhelmingly surrounded with natural landscape, and also, excavated relics and remains were preserved and the monuments were built at the place of memory. Second, gas chambers, crematoriums, guard posts, electric wire fences, railroads and ramps, barracks, and drainage ditches were considered to be typical facilities present in the camp structure and the gas chambers, crematoriums, human ashes, and mass graves demonstrated the horrible history of these camps and the railroad and ramp where Jewish prisoners arrived also had the strong sense of place. These remains were regarded as symbolic elements to create a memory of the tragedy and place. Third, commemoration of victims was applied as the basic concept and recalling the memory of the Holocaust was also considered very important content. Religious reconciliation and peace was represented at Dahau CCM and the Jewish identity was strongly expressed at Treblinka ECM and Belzec ECM representing the Jewish community and Judaism. Fourth, the monuments with semi-abstract styles and abstract sculptures represented the Holocaust symbolically and narratively and came into the conflict caused by the abstractness to the memorial landscape at Auschwitz-Birkenau ECM and Bergen-Belsen CCM. Fifth, remains for recalling the memory of tragedy and place and symbolic monuments to stand for public memory were juxtaposed at the same place and preserving on the authenticity of camp site had been conflicted with monumentalizing intentionally. Further study will required a concrete investigation of the monuments in the HCCM and an attempt to comparatively study the commemoration characteristics of memorials in Korea.

• (The) Research of the performance art and culture
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• no.36
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• pp.751-781
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• 2018

Task of circling the pagoda of Waljeongsa(Woljeongsa Tabdori) is the major intangible cultural heritage with representativeness and historical meaning as a Buddhism culture, one of the Buddhism folk plays, which was firstly played after the liberation. Woljeongsa Tabdori holds significant designation importance in terms of Buddhism folklore heritage with Korean unique tradition and identity of Gangwon-do province. Temples are demonstrating Tabdori nationwide but Woljeongsa Tabdori is the unique case that systematically inherits the culture based on the designation of being intangible cultural heritage. That is why it is needed to focus on the cultural and internal value of Woljeongsa Tabdori. Tabdori is the integrated symbol of Buddhism respect and worship to the Buddha and pagoda. It is hard to presume the originality of Woljeongsa Tabdori: given the history of Woljeonsa temple, it lies into Goguryeo traditional play and Bokhui(Pagoda circling folk play) in Silla era. It fits into the courtesy of Circumambulating Stupa considering Moon in Goguryo mural, background of Odaesan Hwaeom thought/tripitaka and essence of Octagonal 9-story stone pagoda. At the first stage of Tabdori, Buddhist musical instruments such as Buddhism temple bell, singing bowl, cloud-shaped gong and wooden-fish. However, later, Samhyeon Yukgak has been added and then, Boyeom and Bakpaljeongjinga were singing: it could be interpreted that it was a pure Buddhist ceremony but it has become to have traditional aspect and been spread to the public. The origin of Woljeongsa Tabdori is related to the explanation of Circumambulating Stupa that experiences the glory of the ending ceremony. When a temple has a rite, the Buddhists make an offering to the Buddha. At that time, Buddhist prayer, sermon and chant are followed. After the rite, the Buddhists are circling the pagoda with the monks while praying for Buddhist charity and making their own wishes. It prays not only going after death to Nirvana of the one but also national prosperity and the welfare of the people for peaceful reign. As the temple holds bigger rites, many Buddhists gather and the Tabdori was a success. The scene of circling the pagoda and making own wishes in line with the Buddhist sermon was solemn. The idea on changes and convergence of Woljeongsa Tabdori requires strategic inheritance to promote the transmission while maintaining the paragon and purpose of designating the cultural heritage and reviving its identity. Korean Tabdori was held in Buddha's birthday in April and the mid-autumn day. Tabdori is a memorial service type Buddhist ceremony that once the monk holds the Buddhist rosary, circles the pagoda and sings the great mind and charity of the Buddha, Buddhists follow the step, lighting the lantern, circling the pagoda and praying for the gentle and easy death. Transmission education of the successor, diversified approach of the expert's advice and discourse on the revival of the origin should be reinforced in phases.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.2
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• pp.26-44
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• 2017

Regarded as Korea's traditional pond, Gungnamj Pond was surmised to be "Gungnamji" due to its geological positioning in the south of Hwajisan (花枝山) and relics of the Gwanbuk-ri (官北里) suspected of being components to the historical records of Muwang (武王)'s pond of The Chronicles of the Three States [三國史記] and Sabi Palace, respectively, yet was subjected to a restoration following a designation to national historic site. This study is focused on the distortion of authenticity identified in the course of the "Gungnamji Pond" restoration and the invention of tradition, whose summarized conclusions are as follows. 1. Once called Maraebangjuk (마래방죽), or Macheonji (馬川池) Pond, Gungnamji Pond was existent in the form of a low-level swamp of vast area encompassing 30,000 pyeong during the Japanese colonial period. Hong, Sa-jun, who played a leading role in the restoration of "Gungnamji Pond," said that even during the 1940s, the remains of the island and stone facilities suspected of being the relics of Gungnamji Pond of the Baekje period were found, and that the traces of forming a royal palace and garden were discovered on top of them. Hong, Sa-jun also expressed an opinion of establishing a parallel between "Gungnamji Pond" and "Maraebangjuk" in connection with a 'tale of Seodong [薯童說話]' in the aftermath of the detached palace of Hwajisan, which ultimately operated as a theoretical ground for the restoration of Gungnamj Pond. Assessing through Hong, Sa-jun's sketch, the form and scale of Maraebangjuk were visible, of which the form was in close proximity to that photographed during the Japanese colonial period. 2. The minimized restoration of Gungnamji Pond faced deterrence for the land redevelopment project implemented in the 1960s, and the remainder of the land size is an attestment. The fundamental problem manifest in the restoration of Gungnamji Pond numerously attempted from 1964 through 1967 was the failure of basing the restorative work in the archaeological facts yet in the perspective of the latest generations, ultimately yielding a replication of Hyangwonji Pond of Gyeongbok Palace. More specifically, the methodologies employed in setting an island and a pavilion within a pond, or bridging an island with a land evidenced as to how Gungnamji Pond was modeled after Hyangwonji Pond of Gyeongbok Palace. Furthermore, Chihyanggyo (醉香橋) Bridge referenced in the designing of the bridge was hardly conceived as a form indigenous to the Joseon Dynasty, whose motivation and idea of the misguided restoration design at the time all the more devaluated Gungnamji Pond. Such an utterly pure replication of the design widely known as an ingredient for the traditional landscape was purposive towards the aesthetic symbolism and preference retained by Gyeongbok Palace, which was intended to entitle Gungnamji Pond to a physical status of the value in par with that of Gyeongbok Palace. 3. For its detachment to the authenticity as a historical site since its origin, Gungnamji Pond represented distortions of the landscape beauty and tradition even through the restorative process. The restorative process for such a historical monument, devoid of constructive use and certain of distortion, maintains extreme intimacy with the nationalistic cultural policy promoted by the Park, Jeong-hee regime through the 1960s and 1970s. In the context of the "manipulated discussions of tradition," the Park's cultural policy transformed the citizens' recollection into an idealized form of the past, further magnifying it at best. Consequently, many of the historical sites emerged as fancy and grand as they possibly could beyond their status quo across the nation, and "Gungnamji Pond" was a victim to this monopolistic government-led cultural policy incrementally sweeping away with new buildings and structures instituted regardless of their original space, and hence, their value.

• Cartoon and Animation Studies
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• s.42
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• pp.293-313
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• 2016

The target stimulating human's sensitivity can include several things; the first is human like us including beautiful women and cute babies. The next ranking is the dog animal that established itself as a human's companion. It is the 3B law(beauty, baby, beast - much used in the ad or election due to the positive image) that is widely used in the advertising. This relationship is being expressed in the art history for a long time. Dogs that have lived a history more than 10 thousand years with humans hunted, protected flock of sheep, and kept the farmer's house and property. They have been human's assistants and companion who entered into the modern urban culture. Like this, dogs have adapted to several situations endlessly such as the nomadic life, farming, country life, and urban life. This paper will explore the close relationship of humans and companion animals through various icons of dogs and pups that appeared through a number of artists' skills. The companion animal means an animal that lives with people, which means the relationship of round-trip rather than the one-way relation those each other gives a help. Therefore, there artist tries to examine the figure of great hunter for survival, highly evaluated figure as the royal dignity, and the mascot-like figure delivering the daily happiness to modern people as presenting joy through a discussion of the 'countenance', a visual signal of the dogs and pups. They have been influenced by screen and popular media in 20C. Snoopy, a main character of and the movie <101 Dalmatians> made a success on the theater and television when Beagle and Dalmatian were prevalent. These main characters make audience feel happy involuntarily. Like this, the continuous and old friendship of the human and dogs will be confirmed again through the icon of dogs and pups consisting of the communication of artists and readers in the modern shape art, and it is hoped to be a psychological stabilizing effect to modern people living in the intense modern society. Therefore, it is expected this study paper will be reborn as a new text and be expanded as an effective communication in the journey of dogs and human in the future in investigating the communion of dogs and human.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.164-183
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• 2020

In the textile culture of the Joseon Dynasty, the historic record of Banpo is fragmentary and contains many missing details. The main reason is a lack of associated literature, and it is also significant that the actual substance used is not clear at present. Banpo is a kind of cotton, but this has not been confirmed in the traditional textiles that are currently handed down. The word Ban [斑] in Banpo means "stain", and the letter Po [布] means "fabric". At the border of white discourse, Banpo did not receive attention as a research topic. This study is an attempt to restore some of the textile culture of the Joseon Dynasty through Banpo. Banpo is not just limited to the Joseon Dynasty; it is an important material for examining the development of textile culture and exchange in East Asia. This study was broadly divided into three parts. First, the record and meaning of Banpo during the Joseon Dynasty were examined. Records of Banpo can be seen from the early Joseon period during King Sejo and Seongjong, and the production and actual use of Banpo have been confirmed. Banpo was maintained until the beginning of the 20^th century, but is no longer observed. Banpo is a woven fabric made of cotton yarn dyed in many colors and has appeared in Southeast Asia since ancient times. In East Asia, there are other fabrics similar to Banpo, such as Ho [縞], Sum [纖], and Chim [綅]. In particular, the correlation between Banpo and Ho is an important link in understanding Banpo in the Joseon Dynasty. Second, the meaning of Banpo was examined from various angles through comprehensive analysis of Chinese and Japanese literature records and cases. The appearance and development of Banpo moved in sync with the period when cotton was introduced into East Asia. In East Asia, cotton was introduced and produced in earnest from the end of the Song Dynasty to the beginning of the Yuan Dynasty, and the meaning of Banpo was diversified. In China, the name of Banpo was changed to Hwapo [花布], Gizapo [碁子布], Gizahwapo [棋子花布], etc. Japan was late to introduce cotton and developed it in acceptance of the changed meaning. In Japan, use of the name Banpo is not on record, but a Ryujo [柳條] fabric of the same type as banpo has been identified. This Ryujo is the same concept as Ho and Hwapo, and later merged into Ho. Names such as Ho, Hwapo, Banpo, etc. were used differently in each country, but the form was shared across East Asia. Third, based on the meaning of Banpo shared in East Asia, the format of Banpo in the Joseon Dynasty was classified. The format of Banpo in the Joseon Dynasty can be divided into grid and striped versions. The name Banpo disappeared over time, but the form remained and was passed down until recently. I hope that this study will help restore Banpo in the future.

• Cartoon and Animation Studies
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• s.49
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• pp.25-52
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• 2017

As the expansion of the cultural industry expands, various competitive structures are formed and the methodologies for producing commercial success are being discussed. Among them, Hollywood studios use political relationships and apply ideologies that can produce the best interests. Also, they use a structure that can convey this ideology, which is a mythology. The myth has satisfied the public for a ling time. Campbell suggested that strategies come from the myth, and the ideology emerged as a result of what mythology has to do with existing powers. Disney and Dream Works use the mythology and combine their own values into ideology. Disney and Dream Works choose conflicting ideologies in a different growth background. If Disney is recognized as an educational animation by the ruling class, Dream Works are supported by the public for their actions against Disney. Disney has conservative and patriotic personality, Dream Works is more liberal and progressive. Disney's structure came out first, and Dream Works parodied it. So we can compare Disney and Dream Works with similar myths to create a storytelling structure that embodies ideology. As a result, Disney and Dream Works have been choosing the 9 stages the key of Ideology form the 17 stages of the mythology and reduced them to the introduction, growth and completion. In the first units of the introduction, Disney dealt with the subject of social leaders who sacrificed to the ruling class and Dream Works hinted at the overthrow of the ruling class through the irony. If Disney had deployed colored races in the main characters, Dream Works used a variety of races from the main characters to others. In the second units of growth, Disney organized the process of accepting the value of the ruling class, and Dream Works showed the individual values, not the values of society. In the third units completion, Disney showed the main character who live in the world of the ruling class rebuilded, and Dream Works removed the ruling class and went back to the Individual life. Through the structure of Disney and DreamWorks, we learned how to utilize the mythical structures that transform according to ideologies. The right way to organize works will require the strategic approach to storytelling.

• Cross-Cultural Studies
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• v.44
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• pp.87-121
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• 2016

Daehoon Ham's novel 'Cheongchunbo' features a studier as the main character who majored in Russian literature and admired the culture of the Soviet Union. From his viewpoint, the novel reproduces North Korean society before and after its independence from Japan. In this regard, it shows multilayered presence related to Russian culture and Soviet Russia. Such an aspect is based on the sense of sympathy that the main character has. The sense of sympathy is originated from the main character's admiration for the exoticism of Soviet culture which was forbidden during the late Japanese occupation. After Korea's independence from Japan, Russian was replaced by English. Such change also occurred in the main character's viewpoint. He underwent a change in his integrative viewpoint on Russian and Soviet under the name of Red Army. After defecting to South Korea, he began to put Russia down as a den possessed by the devil called 'communism.' In the meantime, Russia and Soviet have been separated from each other in ideological terms. The novel 'Cheongchunbo' stresses that the decisive cause of such changes is argued over trusteeship. The main character, fascinated by the presence of exotic Soviet, predicates that Soviet is a political symbol around the national division caused by the trusteeship. His change alluded to the life path of Korean authors who translated Russian literature after independence. During the Japanese occupation, Russian literature translated into Korea was a longing for forbiddance and admiration for Russia. However, the Russia presented in Daehoon Ham's novel before and after independence implies that the romantic translation has ended.

• The Korean Journal of Archival Studies
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• no.33
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• pp.155-206
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• 2012

Interests in archives management are getting expanded from the public sector into the cultural and artistic field for the ten years after legislation of "Act on the Management of Public Archives" in 1999. However, due to lack of recognition on the importance of archives in the cultural and artistic field, it is rather frequent that information is kept scattered or archives are lost. As an example, absence of precise contract documents or notes of bestowal keeps people from locating great amount of cultural properties, and because of it these creative properties are in the risk of thefts, the closed-door auctioning, or trades in unofficial channels. As how a nation manages cultural and artistic creation inside the nation reflects its cultural level, it can be said that one of the indexes to notice the extent of a nation's cultural level is to take a look at how they are circulated. This study started from this point. Growing economy and rising interests in culture and art made the society more cognizant of the importance and value that visual artworks have, but the archives and information which are showing the context of these artworks and are produced in the course of social interaction are relatively disregarded because too much emphasis lies on the work itself. It is harder to find archives or documentations in Korea than in other advanced countries about the artists themselves or philosophical discourse on the background of the artworks. There is not so much interest to preserve the archives and information produced after the exhibition also, and they are used for no more than promotion or reference. Hereupon, the researcher recognized the importance of visual arts archives and believed that systemic management on them are high in need. And metadata is an essential way for the systemic management, as recently management on artworks or their archives are conducted using the system of the agencies even though they are not produced electronically. The objective of this study is to manage visual arts archives systematically by designing a data model reflecting traits of visual arts archives. Metadata are needed in the every course of archives from acquisition to management, preservation and application. Visual arts archives find its rich value only when a systemic relationship is established among information on artist, artwork and events including exhibition. By establishing a Multiple Entity Data Model, in which artworks, artists and events (exhibitions) make relationship all together, metadata for management on visual arts archive gets more efficiency and at the same time explanatory trait of the archive gets higher. For this reason we, in the study, tried to design a data model by setting each as an independent entities and designating relations between them, in order to find a way to manage visual arts archives more systematically.