• 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.

• The Journal of the Korea Contents Association
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• v.15 no.4
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• pp.75-87
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• 2015

This study aims to explore how the copyright for writers of informative TV programs and documentaries is protected in the reality of broadcasting. For this study, 12 writers and the head of copyright department of the Korea TV & Radio Writers Association were interviewed in depth for research. Our interview findings suggest that writers have worked without written agreement signed by some form of legally binding contract. Instead, they have made verbal contracts. Writers should be aware of the reality of copyrights and request to readjust of basic copywriting fee from the Writers Association and each broadcasting station.

• The Journal of the Korea Contents Association
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• v.16 no.10
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• pp.573-587
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• 2016

This study is the one of the first full-scale subsequent research of a TV drama writer who has been out of scholarly pursuits. Along with the 5 advanced research, this study is to analyze Su-Hyeon Kim's difference and her underlying consciousness by applying the Bahktin's dialogism to the author's creating lines instead of existing speech research. Bahktin's dialogism, its core of polyphony, presents a definite purpose to a artistic creation of language. That is to require the author to have 'outsideness' 'boundary carried over' and 'excess of seeing' in a author relation with characters as it leads the characters to 'the whole'. It means an equal relations of mutual independency between the author and the characters. Also this relations accompany by 'unfinalizability of dialogue'. This study ascertains whether the dialogism actually being realized or not in her lines of of her early stage, of melodrama, and of home-drama. The result of this study shows that the she creates 'polyphony', diverse voices of characters, with her mutual independent relations with characters, that is the voices of between characters, between characters' inside. This research also shows that she realizes 'unfinalizability of dialogue' in her drama work itself of open-end as well as in her lines. She has her own consistent distinction of creating lines to be a her drama work itself, that also means to explore language of human beings's existence, and language of perception, instead of using it as a simple tool of making a drama. This study is to explore a subsequent research of the author's lines with another Bahktin's carnivalesque as the lines's importance and the theory's vastness.

• Cartoon and Animation Studies
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• s.43
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• pp.123-150
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• 2016

There has been discussed very little about animation authorship studies, especially the themes of authors and their original animation texts since 1990s. This study is to explore the academic discourse of animation authorship studies understanding the media aesthetics of animation and the scholarly approach of animation studies about authorship. This article examines 55 articles via meta analysis about animation authorship studies drawn from the 1,516 articles on the general animation studies. The results were as follows. First, the domestic animation studies on the authorship were made about animators of Japan, US, and european countries. Second, It was dominant that scholarly interest on the screen direction and visual expression of animation texts. This shows the authorship approaches were mainly about visual aspects of animations. The domestic animation authorship studies did not trace the authorship issues on author's world view and visual style revealed in the corpus of texts. Instead, they discussed authorship issues on the characteristics of individual animation text. It has been evident that animation studies were not enthusiastic about building the independent theory on animation. Therefore, animation studies have tried theorizing the animation issues borrowing the literature and film theories. This study can contribute to increase phase of animation studies by drawing the intensive discussion of animation authors and their authorship.

• 월간산업보건
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• s.384
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• pp.56-57
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• 2020

영화 <작은 아씨들>은 혼란했던 미국 남북전쟁 시대를 배경으로 마치 가(家) 네 자매의 인생을 그리고 있다. 메그, 조, 베스, 에이미는 각각 배우, 작가, 음악가, 화가의 꿈을 꾸며 삶을 개척한다. 영화는 둘째 '조'를 중심으로 흘러간다. 조는 작가라는 꿈을 위해 끊임없이 펜을 드는 진취적인 여성이다. 하지만 조처럼 장시간 어깨를 구부린 채 책상 앞에 앉아 있는 작가들은 두통에 시달리기 쉽다.

• KLA journal
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• v.45 no.11 s.354
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• pp.27-28
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• 2004

우리 협회는 2004년 9월에서 10월까지 약 2달 동안 한국과학문화재단, 21세기한국생명과학발전연구회와 여러 출판사들의 후원과 협조로 문화소외지역(인구 15만명 미만)의 공공도서관 및 대학도서관을 대상으로 '도서관에서 작가/과학자를 만나다' 강연회 행사를 개최하였다. 우리 협회는 이번 사업을 통하여 ▲ 도서관을 통한 지역문화 활성화에 기여하고, ▲ 직접 만나기 어려웠던 작가/과학자를 직접 만날 수 있는 기회를 제공하여 지역 주민들의 독서 문화 진흥에 도움을 주고자 하며, ▲ 청소년들과 시민들에게 과학문화에 대한 이해를 높이고 자연과학분야에 대한 관심을 끌어낼 수 있는 기회를 갖고자 하였다. 본지 11월호 특집에서는 총26개 공공도서관과 1개 대학도서관 그리고 18명의 작가와 14명의 과학자가 참여한 '도서관에서 작가/과학자를 만나다' 행사를 돌아보는 의미에서 협회 사무국 담당자, 행사에 참여한 작가와 과학자, 도서관측 담당자, 출판사측 담당자의 글을 준비했다. 행사현장의 분위기와 사업추진 경과, 성과 등을 함께 나누어보기를 바란다.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.351-352
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• 2019

우리 저작권법은 저작권자에게 저작인격권을 통하여 성명표시권을 부여하고 있다. 저작권법 제12조에 의한 성명표시권은 저작권자가 자신의 저작물에 대하여 실명 또는 이명을 표시할 권리를 뜻한다. 우리 사회에는 대필작가, 소위 고스트라이터를 통해 저작물을 창작하고 최종 저작물(위탁저작물)에는 대필작가의 이름이 빠지는 경우가 관행적으로 이루어지고 있다. 그러나 법적 관점에서 볼 때 위탁저작물을 창작한 자는 대필작가이고, 대필작가의 이름이 저작물에 표시되지 않는 것은 성명표시권 침해에 해당한다. 또한 성명표시권과 같은 저작인격권은 일신전속성을 지닌 권리로 양도, 포기, 불행사가 불가능하다. 그렇기에 법적으로는 대필작가의 성명을 위탁저작물에 무조건 표시해야 하지만 현실은 그렇지 못하다. 그렇기에 본고에서는 이에 대하여 간략하게 살펴보겠다.

• Journal of the Korean Society for information Management
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• v.39 no.3
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• pp.23-50
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• 2022

This article aims to improve the cultural program for the resident writers in libraries by identifying the current status of the resident writer support project, examining users' perceptions and preferences, and investigating librarians' perceptions of the program. The research methods included an investigation (survey) of the program operation status, user perception and preference surveys, and interviews with librarians about their perceptions of the program. Data were collected from libraries with the cultural program for resident writers between May and November 2021. Findings showed there were challenges in operating the library cultural program due to the lack of resident writers' quality, frequent changes in the program formats (online or offline), and library closures during the COVID-19 pandemic. For the program improvement, suggestions were made, including inviting good-quality resident writers and writers from other fields to the program, training resident writers, advertising the programs using online and offline media, training staff, and developing programs considering user ages and preferences and diversity in local communities.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2022.05a
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• pp.263-265
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• 2022

In online exhibitions, the artist's differentiated exhibition composition is important because the exhibition immersion decreases compared to offline exhibitions. Therefore, the purpose of this paper is to propose a new online exhibition platform by developing a PC APP service that exhibits the work production process led by the artist. To this end, literature surveys, visitor surveys, and in-depth interviews were conducted. Based on this, a prototype was implemented with Figma and Unity. As a result of the study, visitors answered that online exhibition planning needs to be improved, and the artist said that if the artist's autonomy is guaranteed in the composition of the exhibition hall, the understanding of the work can be improved. By applying this, a system was developed that allows artists to display their own production process data. The significance of this paper is to help visitors improve their understanding of the work and improve the delivery of the artist's work.

• The Journal of the Korea Contents Association
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• v.13 no.10
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• pp.103-112
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• 2013

This study is the subsequent full-scale research to explore an undisputed top Korean TV drama writer, Su-Hyeon Kim, more profoundly, who has been out of scholarly pursuits. As it begins with discussing her mixed tendency by genre, we discuss about a useful reading method of the writer's relatively conservative genre, a home-drama. For the purpose of the study, it sets up the intertextuality theory. This study assents to that criticism of diminishing in its original meaning of M. Bakhtin's dialogism, which led J. Kristeva to name and fix the term. Therefore this paper mainly applies the Bakhtin's intertextuality theory to analyze common elements of the writer's and . Also it applies the G. Gennette's intertextuality of 'imprints' and 'transformation' between hypotext and hypertext to figure out their correlation. The analysis shows that the writer's home-drama realizes its mutual relationship and intersubjectivity of the Bakhtin's core intertextuality concept, which results in gaining viewers' popularity. And it also explains that the writer uses 'repetition' and 'transformation' method of intertextuality to contain its intended message in her own home-dramas. As the result of the study, to the writer, Su-Hyeon Kim, while a melodrama genre is for her fundamental inquiry of a 'privative', 'fractured' human being, a home-drama genre is for her message of the only solution of a 'family' to that inquiry with her own intention.