• Journal of Popular Narrative
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• v.25 no.1
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• pp.123-161
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• 2019

The popularity of melodrama indicates that melodrama is composed in a historical context. This is the reason why it is necessary to analyze the imagination of melodrama within a sociocultural context rather than asking the essentialistic question of "What is melodrama?". (2016) and (2018) caused sensations while holding unchallenged top positions in terms of viewing rate and popularity. These dramas indicate the popular imagination and desire of Korean society in the 2010s during a period of upheaval. This paper analyzed imagination in melodrama with a focus on nation and emotions of individuals in and . In preexisting dramas, conflicts are often limited to individuals and families; on the contrary, in and , a nation appears as a motif that forms conflicts between individuals. In these intense situations of conflict, people make rational judgments at first; however, they soon dispose of such judgments and reveal value-oriented attitudes through emotions, which drive actions. Both dramas form poésie mainly through poetic rhyming and the mise-en-scène of objects. The dramas also amplify emotions. The main emotions of these dramas are sympathy and sadness. Such emotions are not consumed in itself; instead, they show moral aims through performativity. Consequently, sympathy becomes solidarity, and sadness becomes mourning. Unlike preexisting melodramas whose endings were simply pursuits of love and happiness within the realm of individuals, and demonstrate a moral imagination that simultaneously reminds us of the individual and community through solidarity and mourning.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.267-302
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• 2019

Oral literature can largely be categorized into myth, legend, and folktales, which are stories orally transmitted from the prehistoric times. The purpose of this study is to compare the discourse on the oral literature of the East and the West from a cultural studies viewpoint by focusing on its "symbolic systems," particularly "figures of speech," or "tropic traits", in order to utilize this oral literature as a resource in the study of Northeast Asian culture. Undergoing modernization, the symbolic meaning of oral literature has been demythologized both in the West and in Northeast Asia. Of course, oral literature, verbally transmitted over a long period of time, has naturally been changed over time and even "contaminated" in a sense by losing its original archaic archetype while it was textualized with letters during the early period of the modernization process. Nevertheless, the principle of "resemblance" and "similarity" between nature/universe and human/humanity, which has been stripped away in modernity, can still be found in oral literature with its mythic power. For this reason, the study of oral literature in the West has attempted to restore the lost magical power within it, particularly in myth. As such, this study delves into the symbolism of the mythic thought of Northeast Asian countries, namely Korea, China, and Japan, which has been lost in the course of their compressed modernization, in relation to the tropic figures of their oral literatures.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.249-280
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• 2019

This research aims at examining the present of fusion historical dramas through a TV soap opera, and discussing the narrative of this genre and external elements to be equipped. tried to break from conventionality of fusion historical dramas by intensifying it. By comprehensively suggesting the history of conflicts repeated in existing dramas, it helped its viewers to concentrate on it easily. In addition, by setting a separate space from the secret strife in a palace while depicting it, it expressed romance between a man and a woman faithfully. Moreover, two individual riddles were given so that the narrative became rich. Furthermore, the social problems of remaining singles and the tyranny of the establishment were dealt with. Novelty was presented with the viewpoint of seeing the past through today's perspective instead of seeing the present through the past; by trying to interpret modern culture in a way of Joseon, such as the figures reflecting the phases of the times and lines using newly-coined words and abbreviations. Therefore, the success of the drama contents lies not in breaking from customs but in thinking about what to change based on conventional characteristics. can be evaluated to be a work that can be an idealistic model of this genre.

• (The)Study of the Eastern Classic
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• no.70
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• pp.495-524
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• 2018

This study investigated the literary theory of Jang Jiyeon and his compilation consciousness of the historical biography, and based on this, the study examined the aspect and characteristic of the personage adoption of "Ilsayusa". To figure out the characteristic of "Ilsayusa", this study attempted to investigate the Jang Jiyeon's cognition on epic literature first. Jang Jiyeon had interest in the historical biography in his early days. But he clearly expressed the negative position about the novels which had been handed down from old times, mentioning about their harmful effect, even though they were in a big popularity. The good readings he thought was supposed to be helpful for person's work, study, personality and even the custom, so it is thought that the compilation of "Ilsayusa" was planned as a part of a usefulness to help readers' actual lives by summarizing Jang Jiyeon's philosophy as the form of a historical biography of personages who had actually existed. The direct motivation and the awareness of the problem to compile "Ilsayusa" could be confirmed by the postscript he left. Pointing that Joseon's policy of appointing persons of ability resulted in the loss of the nation, Jang Jiyeon paid attention to the classical scholars from low class, people from under middle class and the local figures in Hamgyeongdo and Pyeongando in the process of compiling "Ilsayusa". Along with this, a kind of a sense of duty that the old heritage must be examined by descendents was manifested as the compilation of "Ilsayusa". Through this, Jang Jiyeon tried to show the good model to the readers of "Ilsayusa" what the way of living would be for raising their volition and keeping the fundamentals. The tendency and characteristic of compiling personages in "Ilsayusa" could be sorted in a few ways as written below. First, it includes all kinds of all actually existed episodes while he was collecting various historical biographies published before. Second, it includes the new kinds of personages paying particular attention to figures of middle class and commoners. Third, it compiled the female figures in a great volume and described new model of woman. Fourth, for areas, it has episodes of all areas in the nation including Pyeongando and Hamgyeongdo. Thinking about all the discussion above, we could estimate that "Ilsayusa" is the definitive edition of these kinds of books which inherited all performances of the biographical literature in better way, which had been accomplished in 19th century.

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

• 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.

• The Journal of the Korea Contents Association
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• v.9 no.11
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• pp.175-183
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• 2009

This study is the full-scale research of a TV drama writer, who has been out of scholarly pursuits, examining the differentiality and tendency of the most popular TV drama writer, Su-Hyeon Kim. By focusing on her recent melodrama , this study shows that the writer used her own category grammar, 'pursuit of psychology' and 'reversal of dichotomy', which led her to convey the drama's message of the 'self-reflection' on love successfully. This analysis would be the good result of overcoming all the raised melodrama's negative elements in Koran TV such as conventionality, dichotomy, unreality, and excessive emotion. Also this paper presents that the writer showed an advanced tendency on the gender ideology, overthrowing the existing patriarchal gender ideology. This study proposes the further research to analyze what sort of influence is the writer's own category grammar. Also this study proposes the following research on that the writer's advanced tendency in melodrama could applicate the other genre drama of her's, stressing the necessity of sustaining research work on TV drama writer.

• Journal of the Korean Geographical Society
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• v.48 no.5
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• pp.728-749
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• 2013

When it comes to museumification, it has often been approached in terms of false history, placelessness or simulacra. However, this research aims at exploring the relation between the bodily-spatial performance of walking in the city and the museumification of urban space. For this, first it reviews theoretical discussions of walking as a bodily-spatial performance. Then, in the case of Daegu's Modern Street Tour and particularly focusing on the tour map, it looks at how the bodily performance of walking constructs the urban space of the tour as a museumified space. Finally, seeing the participants' blogs and other websites as another performative space, it examines how the bodily performance of walking reproduces the discourse and space of the tour in virtual space as well as in actual space. The study suggests the elusive assemblage of heterogeneous and multiple time-spaces immanent in urban space, which is different from the absolute and linear order of time-space in museum space.

• Journal of Science and Technology Studies
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• v.12 no.1
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• pp.79-106
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• 2012

The paper discusses the issue of reality related to interaction between users and electronic figures that mediate by online game system. MMORPG(Massively Multiple Online Role Playing Game) has been known as virtual world that physically and electronically interconnect users and mechanical elements over huge area. Already game items have became a kind of reality for some users long time ago. How these figures could have been regarded as realities? It suggests to take place the temporality of practice around game world. Tremendous practices of human and machines produce their relations and these relations are reinforced self-referentialy. They could constitute their time-space frame that be situated a figure as the something in it.

• Journal of Digital Convergence
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• v.19 no.7
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• pp.349-358
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• 2021

In the 1980s, the rapid development of Hong Kong genre films began the myth of Hong Kong's New Wave films, which had a profound impact on Taiwanese films of the same period. Later, two leading film directors, Hou Xiaoxien and Edward Yang, appeared in the process of being influenced by Taiwanese film Ganyu Wave. In this paper, we conducted research on the art style, theme style, film language, and aesthetic narrative methods of films of Hou Xiaoxien and Edward Yang against the backdrop of Taiwan's New Wave era. In addition, the visual characteristics of Taiwan's New Wave films, and the two directors have drawn suggestions on Taiwan's new generation of directors and the Taiwanese film industry, and presented a colorful film creation scheme for the creation and innovation of the new generation of filmmakers.